This is the second part of a tutorial, Pro Tips For Using BenQ Colour Critical Displays. For the first part, please refer to this link: Pro Tips For Using BenQ Colour Critical Displays (Part I) In this post I explain how to assign keys on the OSD Hotkey Puck, this will make swapping between Colour Modes very quick and easy. This is necessary because in our multitasking, interdisciplinary, world we often have to assess the tone and colour, in Colour Modes such as Adobe RGB (ARGB), sRGB, Rec.709, and HDR. If you haven’t read through part one this tutorial may not make sense, it would also help if you understand how to use BenQ’s Palette Master Software my full tutorial on Calibrating Colour Critical Displays can be found on this link: How to Set up the Workflow of Color Management
The aim of this Pro Tip Tutorial is to explain how you can switch between custom calibrated Colour Modes, principally between ARGB and sRGB using the OSD Hotkey Puck. Part One covered how to create Custom Calibrations, now I’ll explain how to assign those to the OSD Hotkey Puck.
Use the physical keys on your BenQ Colour Critical Monitor. Pressing any of those keys will open the On Screen Display (OSD), see Figure 01.
Figure 01: The opening buttons of the On Screen Display (OSD)
In the world of photography, color space is an essential element. BenQ professional monitor series provide industry standard color space for every photographer to relive the moment. In this piece, BenQ Ambassador Mark Wood will showcase the steps of easily switching between AdobeRGB and sRGB on a BenQ PhotoVue monitor.
BenQ Colour Critical Monitors can display 99% of Adobe RGB; this is an essential feature for reliable colour managed workflows in photography and print design. However, in our multitasking, interdisciplinary, world we may have to assess the tone and colour of our work in other colour modes. Colour modes include Adobe RGB (ARGB), sRGB, Rec.709, and HDR. If all these acronyms give you a collywobbles, worry not, I’ll try and stick to plain language.
It’s wonderful to have the vast range of tones and colours of ARGB, though if you intend to share your work with an audience using standard monitors and tablet devices, they are likely to be viewing colour in the sRGB mode; in plain language most computer users can only experience colour in a less vibrant and tonally rich way. Figure 01 shows an emulation of the difference between ARGB and sRGB. Note the top left of the photograph on and around the guitar player’s head. In sRGB the colours are muted.
Mark Wood / Fine Art and Commercial Photographer
Making prints is one of the most exciting things about photography. It’s very thrilling to see your photo work transform from an image to a physical print. And BenQ Ambassador Mark Wood reveals some techniques and crucial aspects for you to pay attention to for printmaking in photography.
Mark Wood / Fine Art and Commercial Photographer
Having the right equipment, including a monitor that can be hardware calibrated, is an essential part of every colour critical workflow; whether that is video, graphics, or stills photography. In this five minute video, professional photographer and BenQ Ambassador, Mark Wood explains how our colour perception is effected by vibrant colour, scale, and peripheral colours.
Taking a step beyond using professional equipment and understanding how to assess and overcome common problems should be a concern for anyone producing prints or onscreen output.
The video moves quickly through seeing false colour to the effect scale has on colour perception. It closes with a tip for quickly viewing a photograph in a variety of coloured mounts in Photoshop, and the practical application of Soft Proofing.
The video is one in a series of tutorials, overviews, and posts for BenQ by Mark Wood on a range of colour management topics.
Figure 01: A rare selfie of me. This is my where I process my images.
Many photographers dislike Colour Management, either because it sounds complicated, or that it appears timeconsuming. Colour Management can be both, but it need not be. This short article provides the theory underpinning Colour Management. It illustrates the pipeline through which digital colour passes from camera through to output as print or on-screen display. It also does some bit of jargon busting. As an educator I like to see the reaction of learners in class, to better understand their comprehension of my teaching. In this article I stick to the essentials, and I hope I have been clear and concise enough for a broad range of learners.
Figure 01: On location, Yosemite National Park, USA.
This is my third post in a series of tutorials, essays, and videos that aim to mystify Colour Management. The first article gave a general overview of the topic, and the second dealt with the mundane topic of Color Settings in Photoshop. As ever I will stick to the essentials in hoping to be clear and concise.
This is my second post in a series of tutorials, essays, and videos that aim to mystify Colour Management. Here I cover a very mundane subject. Without any fuss or fanfare Adobe Photoshop will colour manage your photographs, but the default preferences may not yield the best results. Understanding how to tweak the Color Settings in Photoshop is an important part of a reliable colour management workflow. Some parts of Colour Management are exciting, as they reveal possibilities for new creative processes. This topic is not one of them, but it is an important one. I’m using Photoshop because it is used extensively in Photography.