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Fogra
Softproof
Handbook
Fogra Graphic Technology Research Association
Streitfeldstraße 19 · 81673 München
www.fogra.org
Fogra Softproof Handbook Version 1
Tips and background information
for colour reliable work on screen

This handbook is the result of current investigations from the Fogra research project, “Creation and investigation of a
softproof workstation“. It reflects the most recent experiences and test results. Due to new software versions and relevant
findings, it has been planned to produce an updated version of this handbook in the near future. In the meantime, updated
content can be found on the website at: research.fogra.org. This website has information on current projects, and in the
download centre, programs and further instructions on softproofing.

The publication of this handbook, especially in parts requires prior consent by Fogra. In general we welcome the circulation
of the complete handbook.

We would like to especially thank the project acompanying committee for assisting us in this research project:

Michael Adloff twentyfour seven digitale pre press services gmbh

Thorsten Beermann K-Flow GmbH
Dr. Ralf Biering Mediahaus Biering GmbH
Nial Coady Targetcolour UK
Armin Collong Eizo / Avnet Technology Solutions GmbH
Markus Cornely NEC NEC Display Solutions Europe GmbH
Chris Edge Kodak
Florian Fejfar MAN Roland Druckmaschinen AG
Detlef Fiebrandt Colour Consulting
Michael Gall JUST Normlicht GmbH
Stephane Georges Dalim
Johannes Haas Meyle-Müller
Franz Herbert ICS Color
Dr. Patrick Herzog Onevision Software AG
Markus Hitzler Colour Solutions
Dr. Hanno Hoffstadt GMG
Andreas Holst NEC Display Solutions Europe GmbH
Stephane Jamin LaCie
Oliver Kammann K-Flow
Kevin Kotorynski Kodak
Raimar Kuhnen-Burger Quatographic Technology GmbH
Bodo Langkowski GTI
Wolfgang Maske Dalim
Daniel Mayer LaCie
Roland v. Oeynhausen Otterbach Medien KG GmbH & Co
Christopher Parker NEC NEC Display Solutions Europe GmbH
Thomas Richard Richard EBV
Bernd Rückert CGS
Cristina Stoll Rochester Institute of Technology
Florian Süßl MetaDesign AG
Roland Thees IFRA
Andy Williams IFRA
Shoichi Yamaguchi Eizo

The project “Creation and investigation of a softproof workstation“ (Fogra Nr.

10,047) was developed by the means of the federal ministry for economy and
technology by the team of industrial research unions “Otto of Guericke“ e. V.
(AIF) promoted (AiF Nr. N07316/06).

2
Contents
Take Home Message...............................................................................................................................................5

1. Parameters for Softproofing...........................................................................................................................6

1.1 What is a Softproof? - Practical Scenarios......................................................................................6
1.2 Fundamentals of Softproofing.............................................................................................................8
1.3 Setting Up a Softproofing Work Station........................................................................................ 12
1.4 MAC or Windows: What is there to consider?............................................................................. 15
1.5 Measurement Devices for Softproofing.......................................................................................... 17
1.6 Displays (Monitors)............................................................................................................................... 19
1.7 Viewing Conditions: Evaluation of ”Standard Lighting”............................................................ 24

2. Softproofing Settings in Software Programs......................................................................................... 26

3. Calibration: Step-by-Step............................................................................................................................ 30

4. Hands on: Softproofing of RGB and CMYK Images with Adobe Photoshop................................. 34

5. Fundamentals and Concept Explanation................................................................................................. 37

5.1 Description and Measurement of Light (Photometry)................................................................ 37
5.2 Illuminant, Chromaticity, and Correlated Colour Temperature................................................ 39
5.3 Gamma and its Disguises.................................................................................................................... 40
5.4 Matrix or LUT (Lookup Table Profile)................................................................................................41

6. Annex .................................................................................................................................................................42

3
“It works,
if you know what to do!“

4
Take Home Message

Take Home Message

Target Settings for Calibration*

+
RGB CMYK

Gamma: According to the Gamma: L* visual

Working Space Colour Temperature: 5000 - 6000 K adjustment
towards the
Colour Temperature: 5000 - 6000 K Luminance: 160 cd/m²
print
Luminance: 160 cd/m2

Default Settings in Photoshop*

Hint!
Absolute colorimetric provi-
des the correct CIELAB data
with the Info palette. Please
use “Convert to Profile“ for
image separation, because
changing the image mode (e.g.
Image > Mode) does
not give you a pre-
view and control of
the conversion
options.

Print Preview*
Example for RGB Printing Example for Conventional Printing

* The indicated values are practical recommendations. They can be used as a working example in many cases. However, they do not represent the best values for all situations, and
therefore, are not to be regarded as a the “Fogra recommendation“. This guide provides extensive background knowledge and many tips for the optimal values to use.

5
Parameters for Softproofing - What is a Softproof? - Practical Scenario

1. Parameters for Softproofing

1.1 What is a Softproof? - Practical Scenarios

Today, even complex jobs are constantly The question remains about the mea-
being produced at a quicker rate in the ning of “close“.
printing industry. Due to time and cost,
high-quality printed product is more Colour-Matching Practice -
and more required. Therefore, even as Three Scenarios
early as the creative agency or data The practice of colour-matching in
entry, preparation with respect to the the graphic arts industry is very multi-
colour results is to be carefully judged. faceted, but should be represented here
For digital proofs, the Ugra/Fogra Media in three typical scenarios. These differ
Wedge CMYK V.2/V.3 serves, nationally essentially through the object being
and increasingly internationally, as a examined and/or the respective viewing
control strip. With this control strip, conditions.
it can be guaranteed that the proof
is colour reliable for the embedded Scenario I
printing condition, such as FOGRA39. Colour-Adjustment on Screen -
Additional information is found in Fogra “Photographer‘s Workflow“
extra No. 16 „How about the colour The colour-matching at the beginning
reference in digital printing“ (http:// of the production process is not yet
fogra.org/products-en/download/Extra- defined by a particular standard. The
16web.pdf). If there is no control wedge colour-matching object in this sce-
on the proof or the tolerances are nario is a digital image; regardless of
exceeded, a colorful print is considered whether it came from a digital camera
to be non-binding. This digital proof or was developed on screen, the task is
enables advantages over the classic to guarantee a colour accurate screen
on-press proof, in terms of time, quality, representation of this digital file on a
and cost. Proofers, proofing material, screen that has been correctly adjusted
colour measuring instruments, and and calibrated on a regular basis.
software are required for such a system;
moreover, it is important to calibrate
regularly.

In the daily comparison of proof and

print, it is assumed that the print will
be subjected to production tolerances.
Even so, it is required that the techno-
logy related to the simulation is at least
equal to the process it is simulating,
in particular, compared to the colour
gamut to be simulated. With softproo-
fing, this expense could be diminished, Figure 1: Typical viewing scenario in “Photographer‘s
Workflow“
which could provide further cost and
time advantages. Softproofing can be
more concretely defined as the follow-
ing:

“Representation of an image produced

using a monitor with the purpose of
showing the results of the preparation
(colour separation) process in such a
way that closely simulates the results
of the intended output (printing) condi-
tion.“ (ISO 12646)

6
Parameters for Softproofing - What is a Softproof? - Practical Scenario

Scenario II Scenario III

Comparison of Screen and Viewing Colour-Judging at the Final Stage -
Booth - “Conventional Reproduction “Printer‘s Workflow“
Workflow“ The third scenario is relatively new in
Typical objects of the second scenario, the printing industry and, therefore,
such as textiles, prints, photos, and not much scientific research has been
proofs are supposed to be adjusted on performed yet. The object of the colour-
screen and/or serve as a reference for matching is the finished printing pro-
the reproduction. Most frequently, it duct.
is used to create a simulation of the
Hint!
original print according process stan- As opposed to the conventional process, Process Standard Offset
dard offset printing (PSO). Typically, the this standardized procedure (PSO), in Printing (PSO) = ISO
12647-2 + „practical
screen and viewing booth are located which a contract proof represents the
guidelines“ +
directly next to each other, see Figure 2. reference at the press console, the moni- „explanations“
tor representation serves as a colour
reference. Such systems are also used for
image inspection. A typical construction
is shown in Figures 3 and 4.

The screen is fixed to a mobile arm and

illuminated by the background illumina-
tion as well as the viewing booth.

Figure 2: Typical viewing scenario in “Conventional

Reproduction Workflow“

This is the “Conventional Reproduction

Workflow“ where the screen and vie-
wing booth are mutually adjusted. The
viewing booth is dimmed and the moni-
tor calibration can be visually finetuned.
In a closed-loop system, this scenario
works quite well, because each part can
be adjusted based on each other. Even a
lamp replacement of the viewing booth
will not be critical, because the monitor
can be adjusted/finetuned accordingly. Figure 3: Example of a pressroom console with an
integrated screen
In this second scenario, the highest
quality standards for the agreement
between monitor and print are deman-
ded.

Figure 4: Example of a pressroom console with an

integrated screen

7
Parameters for Softproofing - Fundamentals of Softproofing

1.2 Fundamentals of Softproofing

Difference between colour conversion file i.e for offset printing. In the exa-
of data to the target colour space and mple screenshot below, the perceptual It should be noted that both the colour
colour conversion for display transformation is made with respect to conversion of the data to the target
It is important to understand the colour the printing condition FOGRA39, (e.g. colour space and the following colour
conversion chain in softproofing which offset printing in accordance with ISO conversion to the display profile are
is explained in the following. All digital 12647-2). For this printing condition, done on the fly and are not saved to the
files have a starting point, for example, we normally recommend data prepara- data. In a later stage although the data
from databases, digital photography, or tion for typical subjects with the indus- normally will be converted to the target
creation on screen. They normally use try profile of the ECI: ISOcoated_V2.icc. colour space which was used in the
a device dependent colour space. This softproofing setup explained here.
usually includes the use of greyscale Second step: Colour conversion to the
(K), RGB, and CMYK colour values (e.g. display From driving values to colour values
driving values). To understand colour The resulting CIELAB tristimulus values To achieve a colours reliable display
conversion, it is very important to diffe- after the first conversion are then sub- on screen the data has to be defined
rentiate between the colour conversion ject for the conversion to the display colorimetrically. Similar to the use of a
of the file (e.g. separation from an RGB profile. The CIELAB values are result of dictionary, through the use of ICC pro-
working colour space to a CMYK colour an intermediate step and can not be files, it is possible to calculate device-
space for output) and displaying this „seen“ for them self. In a typical soft- independent CIE colour values from
“separated“ file on screen. The first proof setup one wants to simulate the device-dependent values such as RGB
step is usually done by means of one paper white of a substrate on screen. or CMYK.
of two different rendering intents, eit- Therefore the conversion to the display
her perceptual or relative colorimetric profile will make use of the absolute
using black point compensation. The so colorimetric rendering intent. This is
converted (separated) images are then achieved by selecting the option “simu-
to be converted to the display profile. late paper color“ in the second black
This twofold conversion is illustrated box in Figure 5. When no simulation of
by the “Proof Setup“ dialogue box in paper white is needed the the relative
Photoshop. colorimetric intent will be choosen for
the display on the monitor. Deselect Note!
First step: Data colour conversion to „Simulate Paper Color“ in this case. In
target colour space addition deselecting „Simulate Black In this document, for the
sake of simplicity, the
The settings in the upper black box in Ink“ in „Display Options (On-Screen)“ driving values will
Figure 5 pertain to the colour conver- will make use of Black Point Compen- be designated as
sion of the data to the target colour sation for the colour conversion to the colour values.
space. This will often be an output pro- display.

Figure 5: Photoshop Softproofing Dialouge Box: Data separation (upper black box) and transformation to the display (lower black box)

8
Parameters for Softproofing - Fundamentals of Softproofing

Image Data Representations: of a MacBook Pro “Color-LCD.icc“ with In Figure 7, this effect is shown with
When a file is displayed on a monitor, black point compensation delivers the the example of black. On the left an
from a colorimetrical point of view, RGB values 250, 0, 0. These values are absolute colorimetric match of the black
there are four ways that the colour sent to the graphics card. This leads patch (CMYK = 0, 0, 0, 100) is shown.
values can be represented. to an optimum („contrasty“) represen- On the right is the result of the “nor-
tation in the sense of the utilization mal-view“ representation. Due to this,
1. Monitor representation without of the available screen contrast. For the danger arises that shadow areas in
colour management the colour-binding representation of the photos will be incorrectly displayed
The first way is to send the RGB values print files, this method is not suitable and judged and therefore modified or
of the file without any changes to the because the colour values of the file are left untouched.
monitor. This happens, for example, represented as either very bright and/or
in programs, such as the Windows dark because the photo contrast is com- Ergo:
Desktop, which is shown in Figure 6 as pletely scaled to the monitor contrast. Preparation: none
“direct representation“. It is suited for Due to this, a representation is displayed Representation: Relative Colorimetric
situations in which colour is not binding that may possibly contain a darker black with blackpoint
because based on the different colour and lighter white than the original data. compensation
behavior of the devices, the same file However it should be noted that this
will always look somewhat different. In method achieves a colorimetric match if
the next version of this handbook, we a hardware calibration set the monitor
will review which applications support a white and black point to the CIEXYZ of
colour managed monitor. the printing condition to be simulated.
Practically this method is sometimes
Ergo: used to get a fairly accurate representa-
Preparation: none tion with the „standard“ mode (normal
Representation: RGB-Data displayed view) of image represenation in Adobe
unaltered Photoshop. This method although limits
(„keep numbers“) the versatility of the monitor calibra-
tion, because all applications, regardless
2. “Normal View“ in Adobe Photoshop if colourmanaged or not, will show the
This representation is used most fre- „simulated paperwhite. This approach is
quently in the graphic arts industry. not recommended in general.
Adobe Photoshop is considered the
defacto software standard for photo-
graphers. With this, the RGB values are
converted to the display profile with the
relative colorimetric intent with black
point compensation. For example, the
RGB values 227, 0, 15 in sRGB corre-
spond to the CIELAB colour values 48,
74, 60. In the background, a relative
colorimetric conversion to the screen
profile occurs. Here, the screen profile Figure 7: On the left, printed black. On
the right, monitor black.

Figure 6: Principles of colour conversion

9
Parameters for Softproofing - Fundamentals of Softproofing

3. Colour accurate representation

without printing process simulation:
“Photographer‘s Workflow“
For RGB retouching, Photoshop automa-
tically uses the monitor profile for image
rendering (using relative colorimetric
including black point compensation).
Therefore, no further intervention is
necessary. The monitor should cover a
sufficient colour gamut (wide gamut
monitors that can better cover Adobe
RGB or ECI-RGB V1/V2). In addition, a
print preview can be used as necessary. Figure 8: Setting without name
For example, it can be used for the
paper white simulation using a personal
inkjet printer (see figure 8). See Figure
9 to determine where to store settings.
If you choose a profile before you open
your photos, it becomes the default (see
Figure 10). The standard printing preview
can be activated and deactivated with
keyboard shortcuts
(Command + Y / Control + Y).
Figure 9: Stored setting

Ergo:
Preparation: Perceptual
Representation: Absolute Colorimetric

4. Absolute Colorimetric Representa-

tion With Printing Process Simulation:
“Reproduction Workflow“
For the so called “Reproduction Work-
flow“, the ICC profile of the intended
printing condition is used as a simula-
tion profile. For this processing (sepa-
ration), there are two practically used
methods; one is perceptual and the
other is relative colorimetric with black
point compensation. With respect to the
choice of rendering intents, for example,
in Photoshop (see Figure 11), it is to
be noted that the conversion of CMYK Figure 10: Standard setting
applies virtually in the background.

Ergo:
Preparation: Perceptual
(see Figure 11) or
relative colorimetric
with black point
compensation
Representation: Absolute Colorimetric

Figure 11: “Proof Set-up“ dialogue box in Photoshop

10
Parameters for Softproofing - Fundamentals of Softproofing

Proofing of CMYK Data

It often occurs that already prepared
(separated) files must be reviewed on
screen. In this case, the processing and
correct representation must be done on
screen. In order to simulate the image
data as it would be printed without
colour conversion, the option to “Pre-
serve CMYK Numbers“ in Photoshop
must be activated. An example is shown
in Figure 12.

Figure 12: Photoshop setting for the proofing of CMYK colour values

11
Parameters for Softproofing - Setting Up a Softproofing Work Station

1.3 Setting Up a Softproofing Work Station

The set-up process can be outlined in

Light
the three following steps: calibration/ Two Categories of Rendering
adjustment, characterization, and pro- The representation of images on the

Data af ter Correc tion

filing. An additional validation step is monitor is influenced by many parame-
considered optional and will be descri- ters, such as the type of screen, graphics
bed in Chapter 3. card, DVI cable, operating system and/or
driving software. Figure 15 shows typi-
Calibration/Adjustment cal interfaces.
In the first step, the hardware is adju- In Figure 14, a logic classification of the
sted by using a colour measuring instru- driving is shown. This symbolizes the
ment and further methods (test files, characteristic flow of the colour trans-

Dark
reference prints, visual finetuning etc.) formation from the right to the left.
to meet the desired target (aim) values. The main components are defined in the Dark Original Data Light
following:
Characterization
After the screen has been optimally ICC profile:
adjusted, test colours are displayed on First the image data is passed to the ICC

Light
the screen and colorimetrically mea- profile. This is done by the program (e.g.
sured. As a result, characterization data Photoshop) used including the utiliza-
has been produced (typically as tabula- tion of the monitor profile made availa-

Data af ter Correc tion

ted data). ble by the operating system.

Profiling Graphics Card:

In the last step, the calculation of the Most graphics cards allow the individual
ICC monitor profile is done based on modification of the red, green, and blue
the characterization data (measured channels using different bit depths. The
before). Furthermore, user dependent concept of how these are used is impor-
options are also considered in the pro- tant for the overall quality of the entire
Dark

file creation. colour management chain. Dark Original Data Light

Figure 13: Comparison of 8-bit and 10-bit data

In the following, these three steps are Screen (display, monitor): representation
described in greater detail. Modern screens offer the possibility
for hardware calibration of the display
panels both with adjustment possibi- A hardware calibration is, therefore,
Calibration: Hardware or Software? lities at the user interface (“On Screen considered to be the preferred case if
Display“) or via software activation. the necessary corrections (in order to
Calibration Hereby, the amount of the steps is achieve the aim values) can be done
Calibration comprises all adjustments important (e.g. 8, 10 or 12 bits) see where the highest accuracy is available
and (active) methods necessary to reach Figure 13, since it determines the accu- (monitor LUT). Corrections should be
desired aim values such as white point, racy of the needed adjustments. It is of carried out with the highest accuracy
gradation, and luminance. Hereby, both great importance to optimize the inter-
a smooth rendition of the lightness play of hard- and software (communi-
scale and the utilization of the techni- cation for example via DDC) in order to
Calibration:
cal possibilities of the pertinent device achieve the desired target values (white Set of operations that establish,
under specified conditions, the
must be taken into consideration. point, gradation, luminance). relationship between values of
quantities indicated by a mea-
suring instrument or measuring
system, or values represented by
Display Graphic Card ICC-Profile a material measure or a reference
material, and the corresponding
values realized by standards [ISO
International Vocabulary of Basic
and General Terms in Metrology]

Figure 14: Principle representation of the three most important components for the final image quality.

12
Parameters for Softproofing - Setting Up a Softproofing Work Station

v D-Sub 15pin

The Shapes and types of video connector

Connectors on the monitor
PC Video Conectors D-Sub 15 DVI-I DVI-D v DVI-D 24pin
Macintosh D-Sub 15 pin
2
ADC1
DVI-I
Windows D-Sub 15pin
v DVI-I 29pin
DVI-I
DVI-D
Analog connection Digital connection No connection

v ADC

Figure 15: Form and types of different video connectors

possible, particularly in the LUTs of the

screen.
In case no hardware calibration is Expert Tip:
available the necessary corrections There are several DDC versions:
In the simple version DDC1, the
must be carried out consequently by known data of the monitor is
using the possibilites provided by the transmitted unidirectionally and
graphics card or by means of the ICC permanently as so called EDID data
to the graphics card. The informa-
monitor profile. In the optimal case of a tion contains records as long as
hardware calibration the transfer func- 128 bytes, which standard solu-
tions of the graphics card and the ICC tions and DPMS modes support.
The screen size and the manufac-
display profile are linear. Since graphics turer statement are also known.
card normally have a lower bit-depth The version DDC2 supports bidirec-
(often 8-bit) than the monitor LUTs, the tional communication and enables
interaction (e.g. based on colour
software calibration is usually qualita- reading during the calibration, and
tively not as optimal than the hardware therefore, hardware calibration, the
calibration (see Figure 16). display behavior can be altered).

Hardware or Software calibration?

Current Software
8745 K
Lost (nor more
255 usable)

Aim All adjustments via Software calibration: On

0 software (8-Bit)
RGB a laptop there is mostly
no access to the screen
LUTs.
Hardware

8745 K 5000 K 5000 K All adjustments via

hardware (8-Bit+)
255 255 255

0 0 0
RGB RGB RGB

Figure 16: Comparison of hardware and software calibration

13
Parameters for Softproofing - Setting Up a Softproofing Work Station

Characterization (CIEXYZ to RGB) must contain a high based on transformation with multi-
Characterization links the device depen- quality transformation. The ability to dimensional tables, matrices and tone
dent control (driving) values to their have both transformation directions at value reproduction curves for every
corresponding measured device ind- a high accuracy level is of great impor- input and output channel
pendent colour values. This means that tance for softproofing. This is shown in
for the screen measurement, the RGB Figure 18 by an example. An RGB file As a rule of thumb, the user should
values to be sent via the application to with an ECI source profile is supposed follow the recommendations of the
the graphics card are compared to the to be represented in an absolute man- manufacturer of the calibration system.
measured CIEXYZ or spectral data (see ner on screen. In the first preparation In case no recommendations are given,
Figure 17). This is the basis for the crea- stage, the data has to be transformed both a LUT and a matrix profile should
tion of the monitor profile. The amount to CIEXYZ. To transform the colour be created and evaluated visually.
of the test patches to be used depends values corresponding RGB values must Generally, LUT profiles can better mimic
on the characteristic of the screen. be found for all colour values that lead non-linear system behavior. A technical
Older cathode ray tubes (CRT) behave exactly to the CIEXYZ colour values validation is a valuable recommendation
roughly in a linear function, in the sense calculated before. For that reason, the and should be performed in addition to
of the additive colour mixture. For this backward transformation (CIEXYZ to the final visual evaluation of the display
reason, less test colours are necessary RGB) is necessary. On the other hand, to calibration. The validation should be
for a sufficient colorimetric description simulate the representation of an RGB repeated in regular intervals in order to
in comparison with modern LCD screens. file on different screens, the forward be able to recognize a variation of the
Without correction performed by the direction is required. softproofing system.
manufacturer, many LCDs show worse
linearity, so for a sufficient characteri- Matrix or LUT?
zation several test colours are necessary. The ICC profile format specification
gives references of how to “store“ a
Profiling colour transformation digitally. Two
At the last step, with the goal of an different methods are used:
optimum colour description (fingerprint)
of the screen, an ICC profile is genera- - Transformation with tone value
ted based on the characterization data. reproduction curve (TRC) based on a
This means that both the forwards (RGB matrix [MATTRC]
to CIEXYZ) and the backwards direction - Multi-stage, Look-Up-Table [LUT]

Figure 17: RGB characterization data generated by ProfileMaker

Figure 18: Photoshop setting for proofing of CMYK colour data

14
Parameters for Softproofing - MAC or Windows: What is there to consider?

1.4 MAC or Windows: What is there to consider?

Tip:
Today, in digital image preparation the matically deposits the ICC profiles in Folders should contain only the
most updated and relevant profiles.
choosen operating system generally this folder. If one would like an addi- This will help diminish the danger
doesn‘t play an important role. Files tional profile, for example ECI RGB or of the incorrect use of profiles.
can be exchanged primarily without ISOCoated_V2, it can be installed using
problem between the “Windows World“ a right mouse click on the filename
and the “Mac World“. Nevertheless, for and selecting „install profile“. Through
softproofing needs, there are some plat- this, the profiles are copied automati-
form dependent details to consider. The cally into the correct folder, and also,
following has references to up-to-date the profiles are made “known“ to the
available operating systems of Apple system.
[Mac OS X from 10.3] and Microsoft
[Win2000, WIN2003, Win XP], see Special Options in Mac OS X
Figures 19 and 20. Older operating For calibration and profiling under
systems are not discussed here. Mac OS X, it must be noted that in the
System Preferences (see Figure 23) the
Colour Management in Windows Vista contrast setting is set to “normal“. It is
At this point, no recommendations can recommended that the user deactivates
be provided due to lack of investiga- the relevant keyboard shortcuts, since
tions. the contrast setting can be easily chan-
ged by mistake otherwise.
Figure 19: Selection of monitor profile in Windows XP

Where do I deposit ICC profiles?

Mac OS X
Under Mac OS X, there are four places
where the system stores ICC profiles.
This often enables a user to have speci-
fic storage of ICC profiles (e.g. industry
standard RGB and CMYK profiles), see
Figures 21 and 22. The monitor cali-
bration software usually puts the ICC
profiles automatically into one of these
folders. Some solutions permit the
choice of folder location. Yet, in addi-
tion, profiles are found in the System
folder and in the Library Application
Support folder.
Figure 20: Selection of the monitor (display) profile under Mac OSX
Windows
In Windows, the profiles are located
under the following path: C: \windows\
system32\ spool\drivers\color. The
monitor profile can be set in the display
options of the operating system (see
Figure 19).

The monitor calibration software auto- Figure 21: Under “my hard drive“ (/Library/ColorSync/Profiles) profiles that are available to every user of the computer
can be found.

Figure 22: User specific profiles are found under “my hard disk“ (/User/My User Name/Library/ColorSync/Profiles)

15
Parameters for Softproofing - MAC or Windows: What is there to consider?

Using More Than One Display

It is common in the graphic arts to work
on more than one screen (see Figure
24). The second monitor is often desi-
gnated as a palette monitor where the
toolbars are desposited, and therefore,
the total area of the main monitor is
available as a work area. But the second
display might also be a Plasma TV that
should match the primary display. For
a correct representation, both screens
should be calibrated.

Windows XP permits only one ICC pro-

file per graphics card. There is, however,
three possibilities for several monitors
to operate and the ICC profiles to be set
correctly.

1. Two Graphics Cards - Connection

of the Second Monitor at Second Gra-
phics Card
If the cards are the same or come from
the same chip manufacturer, this will
be much more simple. Under Windows
Vista, the graphics card chips must be
from the same manufacturer because
Figure 23: Screenshot of the optimal operational settings
generally Vista cannot simultaneously
work with different graphics card dri-
vers.

2. Dual-head graphics card simulating

to the OS to behave like two separate
graphics cards Hint!
With this, an ICC profile is allowed for
every output connector. This seems to If only one screen is
calibrated, there is a
be the best possibility, as it offers more danger that the different
screens for use. There are relatively low- white points change
priced and simple graphics cards (e.g. by adaptation state
Matrox) that offer this possibility. of the eye.

Display 1 Display 2
3. Microsoft Color Control Panel
Applet for Windows XP Operating system
This is available free of charge under
http: //www.Microsoft. com/downloads/
details. Aspx?FamilyId=1E33DCA0-
Figure 24: Example of double screen setup
7721-43CA- 9174-7F8D429FBB9E&disp
laylang=en. The Color Control Applet is
shown in the system control and allows
to assign ICC profiles to certain devices,
also several monitors. Aside from this, it if and for which monitor a profile is
permits a simple administration of the active; in this case, so-called test pro-
ICC profiles and has a gamut viewer. files can be used to gather that infor-
For multi-monitor use, one should read mation. This is a simple no-cost solu-
the documentation of the program and tion, but error prone and therefore only
should proceed accordingly. The disa- recommended for experienced users.
dvantage of this solution is that in the
OS colour settings, only one profile is
shown. Though it is not easy to check
16
Parameters for Softproofing - Measurement Devices for Softproofing

1.5 Measurement Devices for Softproofing

For high-quality softproofing, the use of

a colour measurement devices is neces- Self-luminous
sary. It has been proven that the human colours
eye has an excellent gift for seeing
colour difference, however, it is very bad light
Hint!
in the absolute estimation of the colour A definition and the
(based on colour memory). In this sec- Human visual explanation of the diffe-
system rence between spectral
tion, after a short survey on the subject radiometer, and spec-
of colour measurement, the use of prac- tral photometer can
tical colour measuring instruments is object be found on page
introduced. 37.
Object colours

Brief Introduction to the Colour Mea- Figure 25: Colour measurement: Self-luminous and
surement of Self-Luminous Objects object colours.
The colour measurement of self-
luminous objects, like a monitor, is
done without a white standard, which
is necessary for the reflection mea- Hint!
surement as a reference, see Figure 25. Display For information on
Basically, the emitted light is weighted Bildquelle: Konica Minolta
Filter (3 or more channels)
emitted light and emis-
by the Colour Matching Functions (CMF) sive measurement, see
of the eye (e.g. 1931, 2 degree, normal Figure 26: Schematic representation of the functional
Figure 27.
observer) followed by a suitable norma- principle of a colorimeter.
lization (e.g. Y = 1 for the white point).

Colorimeter and Spectrophotometer

For colour measurement, there are
basically two different methods: the
Expert Tip:
colorimeter and the spectrophotometer. Compliance of the Luther Condition
Colorimeters have built-in filters, aiming
for an optimal fit against the CMF (see Expert Tip:
Figure 26). Therefore, they are designa- The spectral characteristics include
ted as filter measuring instruments. The Figure 27: Measuring instrument configuration with the interaction of narrow-band
accuracy of the filter adaptation to the ProfileMaker. emission of the background illumi-
nation (CCFL or LED), the spectral
CMF indicates quality of the instrument.
transmission characteristics of the
A typical colorimeter is shown in Figure colour filter within the LCD panels
29. and the respective filter curve sensi-
- the X component corresponds with vities of the measuring instrument.
To determine the CIEXYZ colour values, the red channel
the transmitted light is separated - the Y component corresponds with Expert Note:
directly into single spectral areas and the green channel and simultane-
In order to maximize saturation the
applied with further correction pro- ously, the luminance spectral radiances become spectrally
cedures, such as 3 by 3 matrices. The - the Z component corresponds with more and more narrow and „peaky“.
latter are dependent on the screen, the blue channel Strong problems arise, when the
and according to the monitor type (and peaks overlap the steep parts of the
CMFs. This strongly challanges the
backlight) used, different corrections Spectrophotometers function under correct measurement of flat panel
might be necessary. another principle. The transmitted light displays.
is dispersed by means of a prism or
Based on the different spectral cha- a diffraction grating into its spectral Problems arise if no energy is emit-
ted in those „gaps“ where the CMF
racteristics of modern screens with lar- parts. The weighing with the CMF is have sequential overlaps. A slight
ger colour gamuts, a different correction often done by means of a software change in the emitted light might
is necessary for different LCD screens. program in the measuring instrument. cause a dramatically different colour
The resulting CIEXYZ colour values can A spectrophotometer is shown in Figure appearance.
be roughly interpreted as follows: 28.

17
Parameters for Softproofing - Measurement Devices for Softproofing

Please note that the distinction bet-

ween hand measuring instruments and/
or laboratory measuring instruments
is not made here. Essentially, the
laboratory measuring instruments are Hint!
indicated by improved optics, better Explanations of XYZ
temperature stability, and higher qua- colour values can be
lity of filters and/or spectral resolution found on page 37.
(sampling).
Figure 28: Image of a spectrophotometer
How do spectrophotometer and spec-
troradiometer differ?
In this section, the difference between a
spectroradiometer and a spectrophoto-
meter will be explained. The difference
between both device types is that they
measure different quantities. A spec-
troradiometer measures radiometric
(energetic) quantities. For example, like
power per wave length (watt/nm) on a
receiver. Consequently, a costly calibra-
tion is necessary.

Spectrophotometers are substaintially

more simply constructed. They measure
relative quantities (ratios), such as the
reflection factor. For this, they require
one (white) reference with a given
reflection factor. This reference can
be the paper substrate (as for relative
Figure 29: Image of typical colorimeter
density measurements) or the perfect
diffuser for colorimetric measurements.
For example, the i1 Pro is a spectro- Colorimeter Spectrophotometer
radiometer because it measures the
radiance emitted by the display. For Advantages compact spectral information
ambient illumination measurement, this no correction of different
absolute calibration is also required. low-priced
display types necessary
The SpectroEye or SpectroDens are typi-
cal spectrophotometers because they maintenance through the
good signals to noise ratio
always require a reference. In colorime- manufacturer
try, the refrerence white is the built-in Measurement of dark colours
white tile, and in densitometry, the Disadvantages no spectral information
might be problematic
paper or the reference white (relative vs.
absolute densities).
Table 1: Basic advantages and disadvantages in the comparison of colorimeter and spectrophotometer

Operation in Practice
The use of the colour measuring instru-
ments is relatively easy. Most devices
have a USB connection, so that after
a driver installation, the device is ope-
rational. At the beginning of every
measurement, according to device type,
a black calibration may be necessary.
For this, the instrument is placed on an
opaque area, so that no light will reach
the sensor. The calibration software nor-
mally will give guidance how to do the
black calibration for a specific device.

18
Parameters for Softproofing - Displays for Softproofing

1.6 Displays (Monitors)

The term “monitor“ can be summarized If a thin layer (a few micro meter) temporal and local homogeneities,
as a device that transfers an electric of liquid crystal is put between two improved picture distortion, as well as
signal into an self luminous colour glasses, on which transparent electrodes the maximal luminance in comparison
image. Monitors exist in the middle or are mounted, the transmittance can be to the CRT monitors. Further characte-
first stage of each softproof job, and are altered through variation of a controlled ristics, such as being flicker-free, being
used to display colours through additive electric voltage. In addition, crossed immune to electromagnetic fields, and
colour mixture (primaries of red, green polarizers must be mounted as shown the slight weight, make it increasingly
and blue). Based on the decline of CRTs in Figure 30. Transparent thin film tran- more popular for the prepress work.
in daily practice, they are not reviewed sistors (TFT) utilize the voltage for each
in this handbook in detail. Rather the pixel, and therefore regulate a screen is
focus of this handbook lies on LCD often called a TFT screen.
screens, whereby only the relevant por-
tion of the technology is overviewed. By these filtering functionality the
permanent background illumination is
LCD screens using liquid crystals fluids, darkened more or less on a pixel by pixel
which possess, at a certain temperature, basis. If one applies colour filters now
characteristics that are only otherwise on the surfaces of the individual pixels,
found in crystals. Thus, they can show then a colour monitor is established
double refraction (e.g. different index of governed by the laws of additive colour
refraction for different levels of polari- mixing.
zation). Those optical characteristics can
be controlled by electrical or magnetic LCD vs. CRT in a nutshell
fields. Modern LCD monitors show an advan-
tage in respect to their colour rendering,

Figure 30: Basic construction of an LCD screen. Source: EIZO

19
Parameters for Softproofing - Displays for Softproofing

Format and Homogeneity

A basic criterion for softproofing dis-
plays is the display format. While large-
format inkjet printers already reach the
necessary size for proofing, the maximal
DIN A4 DIN A4
Hint!
format of screens is limited. Typically, Panel: The actual module
the common screen diagonal has a of a flat screen. Mura:
Japanese expression for
maximum of 30“ (76 cm). With a 22“ “mistake“ - where
(56 cm) flat screen, two A4 pages can all is possible
be completely displayed, see Figure 31,
and for examples, see Table 2.

For large images, the uniform repro- Figure 31: Example of a monitor with a wide display
duction over the entire screen is of
great importance. Ultimately, it should
make no difference whether a picture Diagonal Aspect Ratio Pixel Matrix Size [cm]
is displayed in the left upper or right
lower corner. In Figure 32, a software, 19“ / 48 cm 5:4 1280 x 1024 37.7 x 30.1
in which the homogeneity of a monitor
20“ / 51 cm 4:3 1600 x 1200 40.8 x 30.6
can be evaluated, is shown.
21“ / 53 cm 4:3 1600 x 1200 43.3 x 32.5

The objective assessment of the level 22“ / 56 cm 16:10 1920 x 1200 47.4 x 29.6
of uniformity is subject to ongoing
24“ / 61 cm 16:10 1920 x 1200 51.9 x 32.4
research. Here image distortion on a
micro and macro scale come into play 26“ / 66 cm 16:10 1920 x 1200 54.9 x 34.3
such as Mura. Currently the human
eye is the best judge for any kind of 30“ / 76 cm 16:10 2560 x 1600 64.6 x 40.4
homogenity problems. The shown 3x3
Table 2: Typical sizes and accompanying solutions of LCD screens
assessment is a good starting point
and gives a first, general idea.

Figure 32: Capture of a homogeneity measurement

20
Parameters for Softproofing - Displays for Softproofing

Colour Gamut
Another important characteristic of a Wide Gamut Displays
monitor is its colour gamut, which is These displays provide an even larger
fundamentally made of the primaries, in than sRGB colour gamut, which has the
a 3 channel display (red, green and blue) ability to display allmost all colours of
and the white point. These are deter- the standardized offset presses (e. g.
mined in flat screens through the inter- represented by FOGRA39). Some exa- Hint!
action of the background illumination mples of wide gamut display models are Luminance: white = 100
and transmission through the filter. For listed in Table 3. cd/m2 and black = 1 cd/m2
all printed colours to be simulated, the makes a flare level of 1%
proofing system must include the colour Contrast white = 101 cd/m2 and
gamut to be simulated completely or at One aspect of the colour gamut is black = 2 cd/m2
least show a gamut warning. the contrast ratio, which is expressed makes a flare
through the luminance ratio of white level about
2%.
In a digital proofing system, the gamut and black point. The contrast should
is determined mainly by the combi- be at least 200:1. This serves as the
nation of ink and paper. With screens, standard characterization for monitors
this depends on the related phosphors and is based on measurements in a
(CRT) or the interplay of colour crystals darkroom.
(LCD) and the background illumination.
Both tube and flat screens can exceed Brightness
the print gamut in some colour areas. The brightness of a display is deter-
However, in some cases, not all of the mined by the measurement of the
„print colours“ can be represented, luminance and indicated in cd/m2. In
especially in saturated yellow and cyan- order to obtain the same colour appea-
blue areas. rance between the illuminated paper
in the booth and white area on the
The colour gamut of offset printing on screen, the typical illumination level
paper is indicated in Figure 33 (orange should be between 400 and 500 lx, and
colour). A typical LCD monitor covers the luminance should be between 150
the offset printing gamut to a large and 200 cd/m2. This is clarified in more
degree. detail in Chapter 1.7.

Figure 33: Comparison of a screen (shown in natural

colours) and an offset printing colour gamut (shown
in red)

21
Parameters for Softproofing - Displays for Softproofing

Label Image Label Image

EIZO NEC
CG 221 Spectra View 1990

Diagonal 22“ Diagonal 19“

EIZO NEC
CG 241 W Spectra View 2090

Diagonal 24“ Diagonal 20“

EIZO NEC
CG 301 W Spectra View 21

Diagonal 30“ Diagonal 21“

QUATO NEC
IP Intelli Proof 213 Spectra View 2190

Diagonal 21,3“ Diagonal 21“

QUATO NEC
IP Intelli Proof 260 Spectra View 2690

Diagonal 25,5“ Diagonal 26“

Table 3: Example monitors for graphics art by EIZO, NEC and QUATO (February 2008)

22
Parameters for Softproofing - Displays for Softproofing

Stability One can judge the viewing angle very

A second factor that is sometimes well with different test images; for
underestimated in a hard- or softproo- example, a process grey vignette, or Tip!
fing system is the local and temporal subjects with skin tones. Shiny monitor surfaces are not
stability. The reproduced colours must suitable for softproofing.
be constant over the entire sheet and/ Further characteristics
or screen within narrow tolerances. Further important characteristics are
The change of the CIExy chromaticity not focussed on in this handbook
coordinates during warm-up is shown in include additive mixture failure as well
Figure 34. Typically, a stable condition as the reflectivity of the screen surface.
is obtained after about one hour. Accor-
ding to monitor type, the warm-up time
may be different. Therefore, it is recom-
mended to calibrate the monitor after a
warm-up of two hours.

The visual appearance of a proof/soft-

proof must be the same when evaluated
to a later time (e.g. days later). Problems
can be avoided by daily checks of the
calibration. If needed, a recalibration
should be performed. In practice, you
should review and/or repeat the monitor
calibration at least once a month.
Figure 34: Variation of the CIExy colour values in the warming
Viewing Angle Dependency up of a screen (EIZO CG221)
(not viewing angel ;-) )
An fundamental disadvantage of LCD
monitors is still its dependence on vie-
wing angle. Due to the display techno-
logy, luminance and colour can change
with the viewing angle. This deviation of
the perfect reflecting diffuser is to this
extent critical because even in a fixed
viewing position, as the outer corners
of the screen are already seen under an
angle of about 20°. When head move-
ments or several observers that view the
image simultaneously come into play
the viewing angle dependency becomes
even more critical, see Figure 35. Figure 35: Display of colour deviations due to viewing angle

Measurements by the Fogra show that

current high-quality LCD screens, suited
for softproofing, show colour deviations
of ΔE 2.5 that exist at about 20° to 30°
viewing angle, see Figure 35.

It is important to note that the stated

contrast ratio values found in product
brochures are determined for a minimal
contrast of 10:1. However, this statement
gives no information about the colour
variation with varying viewing angle!

Figure 36: Viewing angle situations in the softproof area

23
Parameters for Softproofing - Viewing Conditions: Evaluation of “Standard Lighting“

1.7 Viewing Conditions: Evaluation of ”Standard Lighting”

Requirements for Ambient Illumina- The ISO standard 3664 determines the
tion criteria and corresponding tolerances
Illumination plays an important role in for the viewing booths used for critical
the colour comparison between origi- colour appraisal in the graphic arts
nal and reproduction. The perception industry. It should be noted that ISO
Hint!
is determined by the spectral radiance 3664 defines two levels with respec- For Fogra scrutiny of ISO
of the light and the adaptation of the tively adapted demands and tolerances. 3664 compliance, see
page 42.
eye. The adaptation is influenced by On the one hand, the critical compari-
the background and surrondings of the son between two prints, “ISO viewing
object which are in the field of view. condition P1“, and on the other hand,
The background is the area adjacent to the practical appraisal for less critical
the sample. Again, colour stimulus is work, “ISO viewing condition P2“. The
characterized through the interplay of criteria of “P1“ is considered to be a
the spectral distribution of the light and “superset“ of “P2“. That means that each
the reflectance factor of the object. The viewing booth which fulfills the narrow
influence of different types of light on tolerances for “P1“, also automatically
the colour appearance is displayed in fufills that for “P2“. Items evaluated
Figure 37. include:

ISO Standards Define Guidelines for - Chromaticity

visual appraisal - Visible range metamerism index MIvis
For the colour comparison of print and - Ultraviolet range metamerism index
proof, as well as for the comparison MIUV
of print and monitor basically two ISO - Minimal colour rendering index
standards have emerged. These stan- - Minimal illuminance and homo-
dards serve as the guide for the daily geneity
colour appraisal practice in the graphic - Neutral background and diffuse sur-
arts industry. These are ISO 3664:1996 face reflectance
“viewing conditions for the graphic - Requirements for practice such a
technology and photography“ and ISO hour meter indicator when the lamps
12646:2008 “graphic technology – dis- should be replaced
plays for colour proofing – characteri-
stics and viewing conditions“.

Figure 37: Identical test prints under three different light sources (left: commerical flourescent, middle: D50
Simulator, right: incandescent)

24
Parameters for Softproofing - Viewing Conditions: Evaluation of “Standard Lighting“

Importance of the Background (Ceiling

Illumination)
Colour appraisal with standard light
booths seldom take place in totally
darkened rooms. Normally, there is a Tip!
general level of illumination. At the Viewing distance should be about
same time, this concerns also the colour as large as the screen diagonal.
appraisal without use of standard light
booths. The resulting mixture of light
(booth illumination and room illumina-
tion) affects the sample area as well as
the screen and therefore, influences the
final colour rendering. The latter is par-
ticularly relevant for light booth on or
Figure 38: Optimal monitor placement:
at press stations, which is not typically The parallel alignment of the monitor to the window
equipped with a light shield. is good practice, but should be not near a window if
possible. Blinds to stop outside light are not shown in
this illustration, but are needed.
Neutral Wall and Ceiling Paint
The wall paint next to the ceiling lights
plays an important role. Only a small
portion of the light output by the lamp
encounters the print sample directly.
A large portion is reflected by multiple
surfaces, where a colored (spectrally
selective) surface will change the light
colour corresponding to the reflection
properties. The floor and pieces of furni-
ture can also have a negative influence.

Ergonomics?
The assembly of softproof working
stations in the vicinity of outside illumi-
nation (or even window) should be avo-
ided. A perfect shielding of the chan-
ging daylight phase (from the sunrise to
the sunset) is ideal. The monitor should
be alligned parallel to the window. This
assures that no light from outside will
disturb the user (no psychic blending/
dazzling). Also reflections are avoided
on the monitor screen (see Figure 38).

25
Softproofing Settings in Software Programs

2. Softproofing Settings in Software Programs

In the following, basic recommenda-
tions are outlined that should help you
in the use of the pertinent programs. Attention!
In general, we recommend the use The choice of absolute colorime-
of “branch profiles“. For example, for tric rendering intent (RI) assures
working colour spaces, profiles such that the info palette shows the
correct CIELAB values. Be aware
as ISOcoated_V2 as a CMYK working that colour conversions via mode
colour space and ECI RGB as a general changes will use the rendering
RGB working colour space. These colour intent defined in the colour
settings too (“Image > Mode >
management settings are normally set CMYK“). Colour conversions should
in a way that profile mismatches will always be done via „Edit > Con-
result in a warning message and the vert to profile“ to have maximum
control. Also when importing
number of colour transformations are documents in InDesign the default
minimized. conversion options will be used.
Therefore it might be needed to
switch rendering intent to percep-
Special ICC “checker“ profiles help to tual or relative colorimetric (with
test whether a program or operating or without) black point compen-
system honors the monitor profile for sation.
the image to be rendered. Such a test
profile can either swap the colour chan-
nels or it can be constructed in such a Figure 39: False colour profile (so called checker profiles)
way that all colours are reduced to a
single colour. On the Fogra webpage,
you can find a CMYK profile, which,
when applied to a picture, will output
only red colours. A similar RGB test
profile is supplied, which will only show
green colours. ( http://forschung.fogra. Adobe Photoshop CS4
org/index.php?menuid=62 )

To test if your application honors the

source profile, just load this picture
“Rot wie die Liebe“ (which is a German
saying and means “Red like love“ or
“Roses are red“). If the source profile of
the picture is honored, the picture will
be shown in red colour. If not, it will be Hint!
shown blue (see Figure 39) . Note that This csf file is available
this test only helps you to determine, if on the Fogra website
a monitor profile is used at all. It gives for downloading.
no information how accurate a monitor
profile is.

As noted, these settings can deviate in

individual cases. However, in practice,
they have proved themselves to be
well-made. The dialogue box in older
Photoshop versions can be adjusted
accordingly.

Figure 40: Recommended colour settings in Adobe Photoshop CS4

26
Softproofing Settings in Software Programs

Quark XPress
XPress is being tested at the present
time with respect to its softproofing
capacities. Basic review and settings
for softproofing with Quark XPress are
planned for the next version of this
handbook.

Adobe InDesign CS3

It is assumed that all CMYK files placed
in the layout were prepared already for
the intended printing condition and
need no more conversion.

Older Versions
InDesign 3 (CS1) does not offer the
option to preserve numbers under
the colour management guidelines.
Therefore, InDesign CS1 was to be set
in a way that the source profiles are
retained, see Figure 42. An unwanted
CMYK-to-CMYK transformation is avo-
ided when the placed CMYK contents
are already separated (converted) for
the intended printing condition and the
same profile is assigned to the docu-
ment.
Figure 41: Recommended colour settings in Adobe InDesign 5 (CS 3)

Figure 42: Recommended colour settings in Adobe InDesign 3 (CS 1). The setting choosen is “Preserve embedded
profiles“

27
Softproofing Settings in Software Programs

Adobe Acrobat Professional

In Acrobat Professional, there are two
places where to alter the colour set-
tings. For colour management, the wor-
king colour spaces are determined here,
see Figure 43. In order to guarantee
conformity for PDF/X-files, one should
take note that the option Output Intent
overwrites the active working space.

Figure 43: Recommended colour settings in Acrobat Professional 8.0

28
Softproof Settings in User Programs

Under Page Display, there are settings

that will also determine the representa-
tion of files on screen, see Figure 44.

Figure 44: Recommended items to review for the display in Acrobat Professional 8.0

29
Calibration: Step-by-Step

3. Calibration: Step-by-Step
The explanations in Chapter 1.3 about degrade. illuminated unprinted substrate having
calibration, characterization, and an own coloration. This is due to the
profiling can be supplemented by In a “Photographer Workflow“, it is good partly unknown „mechanics“ of chro-
this section in a more detailed, but practice to adjust the luminance to a matic adaptation. A tolerance measured
general form. Here, we explain the level of 160 cd/m2. According to the of ±100 K is often not critical for the
general concepts, while on the Fogra ambient illuminance level, however, a white point. In the “Photographer‘s
web page manufacturers of monitor lower or sometimes a higher luminance Workflow“, the white point can be
calibration solutions describe the spe- can also be appropriate. In a “Photo- selected somehow freely because the
cific settings and options accordingly grapher Workflow“ a good monitor eye adapts itself to the white point.
(http://forschung.fogra.org/index. luminance is achieved when white areas However, here, the white point should
php?menuid=19). In this chapter, we on the desktop or in an image don‘t fit the environment. As a rule, a white
explain all possible parameters that look greyish, and also, the lightness of point between 5000 and 6500 K is per-
could be altered. If a calibration pro- the image is not unpleasant or “blin- ceived as neutral.
gram does not provide the ability to dingly“ high. If the ambient illumination
alter a specific attribute explained in level changes, the monitor luminance
this chapter (e.g. very few programs should also be adjusted accordingly. By
and monitors allow measurement and dimming the background illumination
then adjustment of the gamma setting of flat screens (in the OSD, On Screen
manually), the setting has to be ignored Display menu) the luminance can be
by the user. adapted by many monitors without
severely affecting the accuracy of the
Target Settings: Luminance, White monitor ICC profile.
Point (Colour Temperature) and Gra-
dation (tonal scale) White Point (Colour Temperature)
A basic goal of a calibration is a percep- The white point is usually adjusted first. Hint!
tual uniform differentation of available For a hardware calibrated display, the Further information on
lightness levels. Also, the technical white point and other parameters are the gamma settings can be
features of a device should be used set automatically. In a software calibra- found on page 37.
in a way that the target settings are tion, red, green, and blue are regulated
achieved, and the colour rendering of as the three channels by gradation
the device is not limited in any way. curve corrections on the graphics card.
The best choice of target settings is
dependent on the actual use case. The To find the best target white point, acti-
third use case “softproof at the press vate the softproof in your application
control station“ is not explained here, and use an absolute rendering intent for
since more experiments have to be the display (in Adobe applications this is
conducted. achieved by choosing the option “Simu-
late Paper White“). Then, test which Hint!
Luminance white point setting will give you the
In the case of the comparison of a print best match of the white in the softproof A low illumination level is
recommend. This helps to
sample to a screen, a luminance match to the white of the paper stock. To find achieve a stable adaption
between the paper white in the booth the best setting you can try to calibrate to the monitor white point.
and white displayed on the screen is to different target colour temperatures Furthermore it minimizes
the goal. This is obtained through an or target white points (xy). Some moni- distracting influences of
a somewhat colored
interactive adjustment of the luminance tor calibration solutions offer a tool to
illumination (if
control of the booth (dimmer) and the visually fine-tune and recalibrate the present).
luminance control of the screen (the white-point.
control is often labeled “brighness“). For
typical illumination levels about 500 lx, A colour temperature (CCT) in the range
a luminance of about 160 cd/m2 is the between 5000 to 6000 K might be
prerequisite of a good lightness match. optimal. Many users prefer values bet-
The calibration can be done visually ween 5300 and 5800 K. The calibration
and/or by means of measurements. It to a target white point which differs
should be noted that the monitor should from 5000K is not wrong, but takes
not be adjusted to its maximum lumi- into account that the eyes perception
nance because over time the maximum of a self-luminous monitor might be
achievable luminance of all displays will perceived somewhat different to an
30
Calibration: Step-by-Step

Gradation
Next, the gradation of the colour chan-
nels is adjusted by red, green, and blue.
The functional relationship between
digital input value and resulting output
value (e. g. luminance) is often designa-
ted as a gamma function.

It is common to use a gamma setting

between 1.8 and 2.4 (see Table 4). Here,
also lies the so-called CIEL* calibration,
whereby the above corresponds to the
lightness function defined in the CIELAB
encoding space.

Colour Temperature Gamma/Gradation Comment

Adobe-RGB 6500 K 2,2
Apple-RGB 6500 K 1,8
ECI-RGB 5000 K 1,8
ECI-RGB V2 5000 K L*
Photogamut 5000 K 2,2 optimized for print gamut
ProPhoto-RGB 5000 K 1,8 extremely large
sRGB 6500 K sRGB (~ 2,2) Standard for office documents and amateur devices
ISOCoated_V2 P1 (ISO3664) CMYK standard colour space for offset printing

Table 4: Colour temperature of white point and tone response of typical colour encodings.

“Photographer‘s Workflow“ “Reproduction Workflow“

Luminance 1. Luminance adjustment with blank paper in cabin
160 cd/m2
(brightness) 2. 160 cd/m2
White point (colour 1. Colour adjustment with blank paper in booth
5800 K
Colour temperature) 2. 5000 K
Settings
1. CIEL*
Gradation (tone value 2. Gamma = 1.8 1. CIEL*
curve) 3. Gamma = 2.2 2. Gamma = 1.8
4. Gamma = sRGB

Monitor Type LCD and/or CRT

Settings Calibration Hardware calibration (if not possible, software calibration)

Profile Type (size) 16 Bit (large)

Settings Chromatic Adaptation CAT02 (from CIECAM02)

Table 5: Target values for typical softproof applications.

Please be aware that those target values should not be seen as „the Fogra recommendation“, but to be used as a starting point if one is unsure which values to choose. See the
Fundamentals section of this handbook and the recommendations in the text how to find the best target values for your setup.

31
Calibration: Step-by-Step

General calibration procedure Definition of Black Point:

The darkest neutral (CIExy colour coor-
1. Examination of the Surroundings dinates of the white point) colour. This Tip 1!
To examine this, both neutral grey wall may require an average of several mea- For the mixture of white and black
wall paint, it should be noted that
paint and general illumination with a surements due to measurement noise. the resulting colour should be
colour temperature of about 5000 K are tested for its neutral colour appea-
required. Furthermore, there must not 3.2 Software Calibration (Manually rance. Example: Measure a paint
sample with the EyeOne Pro. Target
be any colorful items or other objects, Supported) value: L* = 38 - 82, C* <2
such as post-it notes for comments, in If the monitor does not support hard-
the visibile field of the viewer. Some ware calibration, all parameters should
calibration programs offer the function- be adjusted by means of the controller Tip 2!
ality to measure the ambient light. With and tuners at the monitor. The remai- Deactivate all screen savers.
this, the colour temperature and the ning inaccuracies will be compensated
illumination level (measurement of the in the further calibration with the help Tip 3!
illuminance in lux) can be estimated. of corrections to the graphics card. During and after the calibration, a
Fogra test image can be used for
2. Warm-up Phases and Cable Con- 3.3 Software Calibration visual inspection of the monitor.
Download at: www.fogra.org
nections If the screen offers no substanial control
Let the monitor sit for about two possibilities, a software calibration must
hours after it is turned on. Be sure that result, which the user does not have
the optimal signal connection exists control of.
(digitally rather than analog) and the
communication between computer and 4. Storing the Monitor Profile
monitor is guaranteed, for example with After the calibration and profiling is
DDC (by means of a suitable DVI cable)
or USB cable. If required, calibrate the
complete, name the monitor profile with
a suitable filename. It is recommended
Hint!
measuring instrument when the soft- to include the following: monitor type, The black point is not
always the darkest colour
ware asks for it. date, and target values in the form of
possible (similar to offset
luminance, white point, and tone value print), so that a higher con-
3. Definitions of the Target Settings curve. For example, 160_D50_Lstar or trast can be obtained (e.g.
Start the calibration software, and 120_D55_18. darker black value). It must
determine specifications in accordance be decided in the indivi-
dual case between
with Table 5 and/or the ambient light 5. Visual Examination the neutrality of
measurements. Start the calibration. A visual examination is recommended. the depths and
Some calibration solutions offer options contrast.
3.1 Hardware Calibration to fine-tune the calibration. This can
When monitors with incorporated cor- be achieved by means of the monitor
rections are used (e.g. correction curves LUT or the graphics card LUT or by mea-
for red, green, and blue), no further suring a visually optimized whitepoint
intervention of the user is necessary which is used in a second calibration as
because all correction steps needed the new aim white point. To fine-tune a
have been automatically performed by calibration use a display program with
the software. ICC colour management (e.g. Adobe
Photoshop), and review the represen- Hint!
Definition of White Point: tation based on a reference image (e.g.
DVI-I can also transmit
The lightest neutral colour that might offset print sample with its specific analog signals.
serve as a reference for the colour simulation profile). Then, by means of
adaption. Expressed in CIEXYZ (where Y the available correction possibilities
indicates the luminance). (gradation curves and/or white point),
match the screen image with the refe-
rence print sample in the viewing booth.
Finally, depending on the options of the
calibration software, recalibrate and/or
replace the original profile with the new
profile.

32
Calibration: Step-by-Step

Advice for visual adjustments

If you perform a fine visual djustment of
the calibration, it is very important that
you are confident that your reference
print is of high accuracy. In many cases
a visual fine-adjustment is not needed.
But for highest quality an experienced
user can make use of visual fine-adjust-
ments. Be aware that altering the moni-
tor or graphics card LUT can introduce
banding in gradients which should look
smooth. If possible a recalibration to an
optimized target white point should be
preferred.

6. Proper Technical Examination (Vali-

dation)
In examination of the monitor, device
independent values (RGB) are sent via
the display profile to be tested to at the
screen. The resulting colour is measured
and compared to the desired values
(that the generated ICC profile predicts).
From that, colour differences are cal-
culated and shown for judgment of the
calibration‘s quality.

7. Regular Calibration
After the calibration of the softproof
station, the question remains of when
to test the calibration. In the beginning,
at least a weekly inspection should
result by means of the visual and/or
technical test.

33
Practice Examples: Softproofing of RGB and CMYK Images with Adobe Photoshop

4. Hands on: Softproofing of RGB and CMYK

Images with Adobe Photoshop
In this chapter, there are examples Dialogue Boxes:
both for the “Photographer‘s Work- The “Softproof Control Center“ where
flow“ and “Reproduction Workflow“ in you can customize the proof condition
Adobe Photoshop 9 (CS2). While in the for the softproof is found under the
“Photographer‘s Workflow“, the soft- menu „View > Proof Set-up“, see Figure Hint!
proof shows the colours of an RGB file 65 and Figure 66. Photoshop does not always
which is yet not prepared for a printing indicate all Display Options
condition, while in the “Reproduction (on screen). This depends on
Workflow“ a softproof simulates a prin- the profile characteristics of
the involved ICC pro-
ting condition. Configure Photoshop files and the number
in accordance with the basic settings of channels to be
described in Chapter 2. softproofed.

Figure 65: The “Softproof Control Center“ in Photoshop

Tip!
Please note the separation of
„Proof Conditions“ where the
conversion options are set and the
„Display Options (On-Screen)“ to
configure the output to the display.

Figure 66: Softproof settings: Image separation („data processing“) options and settings for the rendering to the screen.

34
Practice Examples: Softproofing of RGB and CMYK Images with Adobe Photoshop

Colour Transformation: Workflow“. To achieve this, the ICC

“Photographer‘s Workflow“ versus profile of the device is selected as the
“Reproduction Workflow“ simulation profile, whose colour result is
When the colour (pixel) values of the being tested. Please note that this will
file should be shown bindingly — this only work up to Photoshop CS1 for RGB
is a typical scenario for a photographer encoded pictures when using the Adobe Hint!
who wants to know “which colours CMM (or ACE). For CS2 and greater this Figure 67: Colours out-
are in the file“. Therefore the colours functionality can be achieved with the side of the screen gamut
of the file (image encoding) have to be Apple or Windows CMM. are cut off (“clip-
converted absolute colorimetric to the ped“).
monitor. This is reached with the cur- Another possibility is to bypass proces-
rent monitor profile being adjusted to sing (separation). In this case, the RGB
simulate the device, see Figure 67. or CMYK colour values of the image file
are sent directly to the simulation pro-
To simulate how the data file looks on file and followed by an absolute colori-
a specific output device, the data has metric representation. This shows how
to be converted for this output device. a file will come out on a specific device
Then, the converted data is displayed if no prior colour conversion has been
absolute colorimetrically on the display. done. Figure 69 displays this example
This task exists both in the “Photogra- with a CMYK image.
phers Workflow“ and “Reproduction

Figure 67: Colour transformation: “How does my data really look?“

35
Practice Examples: Softproofing of RGB and CMYK Images with Adobe Photoshop

Hint!
Figure 68: Relative colorimetric
with black point compensation
is also common for image
data conversion (“sepa-
ration“).

Figure 68: Colour transformation: “How does my file look when processed with a perceptual intent in respect to
ISOcoated_V2?“

Figure 69: Colour transformation without new processing and absolute colorimetric representation.

36
Fundamentals and Concept Explanation - Description and Measurement of Light (Photometry)

5. Fundamentals and Concept Explanation

5.1 Description and Measurement of Light (Photometry)
The measurement of light forms the Illuminance, E
base for an exact representation of the In contrast to the luminance, which
original scenery. Herewith, the funda- describes the light intensity thrown
mental measurements are to be referred back by the object per area, the illumi-
to as “luminance“, “illuminance“, “lumi- nance, “E“, indicates how brightly the
nous intensity“, and “luminous flux“. For object is illuminated. Therefore, it con-
digital photography, the illuminance, cerns a light measurement. The unit of
as well as the luminance, are of impor- the illuminance is the Lux (lx). Figure 70: Luminance
tance, which are described in the fol-
lowing section. In light measuring, one
distinguishes between light measure- Equation 2
ment and object measurement. Light
φ
measurements characterize the pro- E=
perties of a self-emitting light source. A
Object measurements describe the pro- where
perties of the light that is reflected from φ is the luminous flux
an object. A is the illuminated area
Figure 71: Illuminance
Luminance, L The luminous flux of a light source indi-
The luminance L, is correlated with the cates how much light is issued into all
subjectively perceived lightness and directions of the surrounding room. The
brightness of self-emitting light source unit of the luminous flux is the Lumen
or an illuminated area. The unit of the (lm). The illuminance is divided in half
luminance is Candela per m2 (cd/m2). with the square of the distance to the
The luminance should not be confused light source (double distance: ¼ of the
with the lightness. To determine the illuminance). Over how many orders of
luminance of a light source, for exam- magnitude, the illuminance can vary in
ple, a floodlight, you must divide the the daily life, is illustrated in Figure 72.
luminous intensity (cd) of the lamps
in viewing direction by the projected
area in m^2 which is seen (light mea-
surement). The luminance of an object,
which is not self-emitting light, is cal-
culated from illuminance E in front of
the object and the coeffecient of reflec-
tion ρ (so-called object measurement).

Equation 1
(E · ρ)
L=
π

This simple calculation assumes that the

illuminated object reflects the incoming
light perfectly and diffuse. By Equation
1, it is clear that with a well-known
luminance and illuminance, the coef-
ficient of the reflection can be calcu-
lated. With the same illuminance, the
luminance of an object with large “ρ“ is
higher than with a smaller reflection. Figure 72: Typical illumination levels.

37
Fundamentals and Concept Explanation - Description and Measurement of Light (Photometry)

Exposure, H In the establishment of the aperture

The light quantity which influences over number, k, it is meaningful to obtain a
a certain period, t, of an area is called duplication or halfing of the incoming
exposure. It is, therefore, the product light with every change of k. Such a
out of illuminance and time or luminous variation of the aperture opening by a
flux multiplied by time divided by area. factor of 2 makes a required change of
the aperture diameter by a factor of √2.
Equation 3 For this reason, aperture numbers are
H=E·t even powers of square root of 2 (1; 1.4;
2; 2.8; 4; 5.6; ...).
The exposure is represented often in a
logarithmic scale. The task of the photo- Colour Stimulus
grapher or the automatic exposure con- The physical spectrum, which is recei-
trol mechanism is to select the exposure ved by a human observer or a technical
time dependent on the light surroun- image capturing device indicates the
ding to the camera and the reflection of colour stimuli.
the object to be photographed, so that
all important details can be captured.
The exposure is determined by the time
and illuminance. This is adjusted over
the opening aperture (aperture stop or
f-stop) in the lens. It is referred to as
the aperture number or aperture stop, K.

Equation 4
k = f‘
D

where
k is the aperture number
f‘ is the focal length of the lens
D is the diameter of the aperture

38
Fundamentals and Concept Explanation - Illuminant, Chromaticity, and Colour of Light

5.2 Illuminant, Chromaticity, and Correlated Colour Temperature

In supplement to the prior section, the through a colour scale of dark red, red,
spectral power distribution (SPD) of the orange, yellow, white to the light blue.
light source is discussed in the following, The corresponding curve in the chroma-
as well as chromaticity, colour tempera- ticity diagram is named Planckian locus,
ture, and colour rendering index. see Figure 74. The unit of the colour
temperature is named Kelvin (K), occasi-
The illuminant (tabulated data) or onally also called “degree Kelvin“.
light source is described by the relative
spectral radiation distribution of a light In practice, it is very rare that the CIExy
source, which is comparable to the of light sources (e.g. displays) lie exactly
spectral reflection factor of non-lumi- on the Planckian locus. In this case,
nous colour. Therefore, it represents a one indicates the so-called correlated
comprehensive colorimetric description colour temperature (CCT). It is described
of primary light sources. For measure- in the standard DIN 5033-8. Both the Figure 73: Spectra of a fluorescent bulb:
ment, a spectroradiometer is necessary, colour temperature and the correla-
which is expensive and often only found ted colour temperatures say nothing
in larger laboratories. The Figure 73 about the spectral power distribution, Abbr. Meaning
shows a spectra typical for common but rather serve only as a indication H Mercury (Hg)
illuminants. whether a colour is more reddish, neu-
tral, or blueish. The light of lamps of the Iodide, Bromide
I
The spectral peaks of 410, 450, and 550 same light colour (colour type of the (Halogen compound)
nm exist due to the gas discharge in the light type) can have a clearly different Base metals (Alkaline
mercury steam, which represents the spectral composition and can evoke, M earths: Holmium,
base for light creation in fluorescent therefore, also a clearly different colour Dysprosium)
tubes. Dependent on the composi- rendering.
tion of the gas mixture, there are two T Daylight
essential types: HMI and HTI. The HMI Colour Rendering Index (CRI)
Table 6: Symbols of gas mixtures in lamps
lamps posess a large colour rendering The colour rendering index serves as
index, while the HTI lamps have a high the numerical indication of the colour
luminance. Table 6 explains the abbre- rendering characteristics of a light
viations. source against a reference light source.
With this, a colour test procedure is
Chromaticity and Colour Temperature used, which determines and values the
The chromaticity of a light source or an colour shift between the tristimulus
illumated object is specified as chro- values under the reference and the test
maticity coordinates x, y. Tristimulus illuminant. The colour difference is to
values, which differ only through lumi- be calculated in a perceptual uniform
nance (CIE Y) from one another, have colour space. The standard DIN 6169
the same chromaticity. The plot of all defines, for example 14 colours and the
chromaticity coordiantes of the spectral UVW colour system to calculate the
lights (only emitting at one wavelength) colour difference. Based on the colour
will result in a horseshoe type diagram. difference found for each test colour,
The chromaticity coordinates CIEx = the general colour rendering index, Ra, Figure 74: Chromaticity cooardinates of the “black body“
(dotted line) and chromaticity coordiantes of a RGB
0.3457 and CIEy = 0.35854 represent is calculated after an empirically deter- system (defining the gamut as shown in the triangle).
for example the chromaticity of the mined relation, see Equation 5.
illuminant (CIE) D50.
Equation 5
Colour Temperature
The “temperature“ of the colour of a Ra = 100 - 4.6 · ∆Ei
light source is determined by how it
compares to the colour of a “black
body“. This is an idealized hollow body, For the determination of a special
for example out of platinum, that colour rendering index, other test
absorbs all light that falls on it. If a colours can be used, if necessary. Both
“black body“ is heated, it glows and the test colours and the colour diffe-
emits light. At the same time, it passes rence formula used to have to be stated.

39
Fundamentals and Concept Explanation - Gamma

5.3 Gamma and its Disguises

Most likely, the largest uncertainity in “Gamma“ serves as the exponent in Which “gamma“ is the best?
prepress is the concept of “gamma“. Equation 6 or the slope of the transfer If a job was calibrated and profiled,
Aside from the photographic gamma, function of these quantities in a two- then the choice of the gamma value
which describes the section of the linear fold logarithmic representation (Equa- plays only a secondary role. The cha-
part of the exposure vs. density chart, tion 7). racterization, for example by means
we encounter several definitions of that of an ICC monitor profile, guarantees
term in the digital prepress area. The Equation 6 the complete description of the display
characteristic correlation between the independent of how gamma was adju-
γ
control voltage and the tube current of γ=X sted. Therefore, how an image looks on
a CRT screen is often called “monitor a Windows PC with a gamma of 2.2
gamma“. Equation 7 should look about the same on all cali-
brated and profiled monitors. It is even
Under the assumption that the analog- lg Y similar to a calibrated Mac monitor with
g=
to-digital converter and the reaction of lg X a gamma of 1.8.
the phosphors are linear with respect
to the electron current, it can be said
that the monitor gamma is also the where
connection between digital colour Y luminance, normalized to 1
value and optical quantities, such as X for example normalized (1) R, G or B
the luminance. It is also designated as value of the input signal
a “system gamma“ because it describes γ is the monitor gamma
the total system out of computer, soft-
ware, graphics card, and monitor. Such
a “system gamma,“ also applies to LCD A representation of common tone values
monitors, but here there is no “electron and gradations curves is represented in
gun“. Figure 75.

Figure 75: Representation of different gamma values, as well as CIEL*.

40
Fundamentals and Concept Explanation - Matrix or LUT (Table Profile)

5.4 Matrix or LUT (Lookup Table Profile)

Matrix Transformation
The matrix-based transformation with Monitorprofile
a tone value reproduction curve (TRC)
is used if the device to be characterized RGB
R‘
TRC re d R lin
X
(e.g. a screen) shows a linear behavior
G lin
between device dependent control G‘ TRC green Matrix -1
3x3 Y

values and the resulting colour values. B lin

Z
For maxtrix profiles the CIEXYZ colour Greylevels
B‘
TRC blue

space is used as the PCS (“Profile

Connection Space“) instead of CIELAB,
because CIEXYZ scales linear with Figure 76: Schematic representation of the matrix transformation in an ICC profile (Source: Fama Skript)
intensity. Matrix-based profiles have
a small file size, which is about 4 to 8
KB. Consequently, they fit well for the
definition of a working colour space.
With the use of matrix profiles, it is
esay to achieve that equal RGB combi-
nations (grey balance) will also always
be rendered neutrally. The connection
between the device dependent RGB
colour value and the PCS is represented
with the matrix model in Figure 76,
whereby the calculation is possible in
both directions.

In Figure 76 the RGB values are to be

linearized by gradations curve (TRC) and Figure 77: Conversion with a multi-stage transformation
subsequently subject to be converted
with a 3x3 Matrix into the XYZ coor-
dinate of the PCS. For the reverse, to In this example the conversion from CMYK values for a sample colour are
achieve linear RGB values the XYZ tri- RGB values to CIELAB is done first by calculated.
stimulus values are converted with the means of a source profile. For every grid
inversed 3x3 Matrix . The device specific point in CIELAB encoding the corre-
RGB values result after applying the sponding CMYK aim values are stored.
inversed TRC curves to the linear RGB The RGB code values R=G=B=128 are
values. converted to CIELAB values [L* = 61,
a* = 0, b* = 0]. As described above a
LUT Transformation matrix/TRC transformation by means of
The multi-stage conversion with LUTs is ECI-RGB profile is used in this case.
described in the following:
The separation with perceptual rende-
- for every input channel, a tone value ring intent of the ISOcoated profile is
reproduction curve specified in the BtoA0 table. In the exa-
- a multi-dimensional table mple the following CMYK values result:
- for every output channel, a tone value [C = 38, M = 30, Y = 28, K = 11]. For
reproduction curve CIELAB values that do not lie on a grid
- additional matrices in specific V4 point, the CMYK values are interpolated.
profile tags The interpolation is done by the CMM.
The CMM is normally integrated into PCS: Profile Connection Space
For example the conversion from a the operating system. Figure 77 illus- TRC: Tonevalue Reproduction
colour encoding space with 3 primaries, trates the conversion sequence when Curve
e.g. ECI-RGB, to an encoding space with the tone reproduction curves (TRC) of
4 primaries, e.g. ISOCoated, can be ima- the input and output are not altered. CMM: Colour Matching Module
gined as a cube with many grid points The CIELAB values are used in the thre-
[Figure 77]. dimensional colour look up table (CLUT).
The figure illustrates how the resulting

41
 Information München,Oktober2007

Überprüfung Ihrer Abmusterkabine gemäß

Kosten
ISO 3664 – unabhängig und kompetent
EUR 1.500,– zzgl. MwSt.
Für Fogra-Mitglieder
Die kritische Abmusterung von Farben Scrutiny of your viewing cabinet [30 % Rabatt]
ist für die tägliche Produktion in der according ISO 3664 EUR 1.050,– zzgl. MwSt.
grafischen Industrie von hoher Bedeu- zzgl. Reisekosten
tung. Fehlurteile aufgrund einer falschen Since deficiencies in light sources and
Beleuchtung führen fast zwangsläufig viewing conditions, and inconsisten- Preise gelten für maximal
zu Reklamationen und damit zu erhöh- cies between colour viewing facilities, 4 Kabinen bzw. 4 verschie-
ten Kosten im Produktionsprozess. Die can distort the colour appearance of dene Beleuchtungsszenarien
ISO-Norm 3664 definiert hierfür ver- substrates, reproductions and artwork, [z. B. verschiedenen Beleuch-
schiedene Kriterien hinsichtlich der they are likely to cause miscommuni- tungsniveaus, Lichtfarben,
Gütesicherung für die farbverbindliche cation about colour reproduction and variabler UV-Anteil, …]
Abmusterung. Beurteilen Sie Ihre Far- processing. Ask Fogra for objectively
be korrekt und zuverlässig und lassen testing the specifications for illumina- Übersetzung: zzgl. EUR 200,–
Sie dafür Ihre Abmusterkabine von der tion and viewing conditions that, when
Fogra überprüfen. properly implemented, will reduce errors
and misunderstandings caused by such Costs
Gemäß ISO 3664:2000 prüfen wir: deficiencies and inconsistencies.
¬ Farbwiedergabe [allg. und spezieller EUR 1.500,00 excl. VAT
Farbwiedergabeindex] Based on ISO 3664:2000 we check your For Fogra members
¬ Farbwiedergabe [Metamerie- cabinet with respect to: [30 % discount]
index MIvis] ¬ Colour rendition [general and EUR 1.050,00 excl. VAT
¬ Korrekter UV-Anteil [Metamerie- special colour rendering index, CRI] Travel costs to be added
index MIUV] ¬ Colour rendition [CIE visible range
¬ Farbgenauigkeit [D50] metamerism index – MIvis] Prices for a maximum of
¬ Homogenität ¬ Correct UV energy [CIE UV range 4 cabinets or 4 different
¬ Umfeldbeschaffenheit metamerism index – MIUV] illumination set ups
¬ Wartungsvorrichtungen ¬ Colour accuracy [D50] [e. g. illumination levels,
¬ Homogeniety illuminants, variable UV-
Durchführung & Dauer der Prüfung: ¬ Ambient conditions content, …]
¬ ½ Tag vor Ort [nach Terminverein- ¬ Maintenance
barung] Translation: EUR 200,00 extra
¬ Ergebnisbericht innerhalb der Duration of the test:
folgenden 3 Wochen ¬ ½ day at the vendors premise
[after appointment]
¬ written report within 3 weeks

Impressum/Kontakt
Imprint/contact
Fogra
Forschungsgesellschaft
Druck e.V.
Praktische Abmusterungs- Andreas Kraushaar
bedingung für den SoftProof [Dipl.-Ing.]
[Color Communicator der Streitfeldstraße 19
Firma Just Normlicht].
81673 München, Germany
Practical viewing Tel. +49 89. 431 82 - 335
conditions for soft Fax +49 89. 431 82 - 100
proofing [Color Communi- kraushaar@fogra.org
cator of Just Normlicht].
www.fogra.org
MS20071004v01

ISO3664:2000BetrachtungsbedingungenfürdiegraphischeTechnologieunddiePhotographie.
ISO3664:2000Viewingconditions—Graphictechnologyandphotography
Bezug/Howtoget:Beuth-Verlag,Berlin,www.beuth.de