For a lot of Photoshop users, a choice of monitor is considered secondary.
Those who skimp can expect uneven backlighting across the screen and poor colour rendition.
You’ll certainly experience a narrow colour gamut that makes print-matching a headache and a brightness level unsuitable for photographic output.
The Eizo ColorEdge CG range of monitors avoid all of these issues.
The even backlighting from edge to edge and corner to corner is legendary, so in colour terms the screens can reproduce nearly all of the Adobe RBG colour space.
This means vibrant blues and greens that can’t be accessed on sRGB-based monitors but can be seen in print can now be viewed in entirety on the screen.
The colour accuracy unit-to-unit is also widely regarded, meaning colour professionals using the same models can communicate changes safe in the knowledge they’re seeing the same result.
The model we’re putting to the test is the CG246, a 24-inch screen that retails at £1,514 including VAT. This will tell you fairly quickly that the target market for this monitor are serious imaging professionals in absolute need of the highest possible quality, which is easily supplied through this CG model’s feature set.
The CG246 actually comes with a built-in colorimeter, which is the device needed to calibrate and profile your monitor. This guarantees the most accurate colour, contrast and brightness possible.
Anyone who has had to fiddle with third-party colorimeters will really enjoy the luxury of seeing this little gadget pop up and do its thing, all without any awkward USB fiddling or monitor tilting.
The Color Navigator software included offers up three default profiles, including Web Design, Printing and Photography, each with different targets for colour temperature and brightness.
You need to select each setting individually to start and click the Adjust button, which will calibrate and profile subsequent settings.
Once this is complete, you can simply click between options and the screen changes in a second or so to represent the new profile.
This is a superb feature, enabling you to change your viewing state depending on your current project.
What’s even better is that the Advanced menu also offers an Emulation feature, which functions like a better version of Photoshop’s soft proofing.
Select the Fogra 39 CMYK profile as an Emulation category for Printing and the screen quickly dulls down all the colours, adjusting the shadow and highlight tones to represent the narrow CMYK print colour gamut.
The only real drawback with this screen is the super-wide Adobe RGB gamut that plays havoc with non-colour-managed browsers. Images designed to appear decent for sRGB monitors appear terribly contrasted and over-saturated in the new colour space.
Using colour-managed browsers like Safari or Firefox solves the problem, unless you’re using a Flash-based site, in which case you’ll need to switch to the monitor’s sRGB mode via the front panel each time.
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