The Ultimate Screen Calibration Guide

The Ultimate Screen Calibration Guide

Talk to a photographer long enough and the question of screen calibration will be brought up. Often many will say it's an incredibly important tool in your post production workflow, and often many more disregard it all together. So what is screen calibration? Is it still a viable issue within photography today, or is it becoming more and more obsolete, like sync cables and light meters? I'm here to explain it to you.

First, I stand on the "It's exceptionally important" side of the coin. For the first 3 years of my photography career, I was working on an uncalibrated monitor. I wasn't printing my work, so I had really no idea how my photos looked to others. It wasn't until I finally borrowed a screen calibration system that I learned how important the tool really was. Suddenly all of my photos that I thought were beautiful turned out to be really dark, and really orange in color.

There are two main brands of screen calibration software - The Datacolor Spyder system and the X-Rite ColorMunki. While both of these system do virtually the same thing, I've never had experience with the ColorMunki personally. The general use of these systems is to attach them to your monitor, and run a series of diagnostic software. This will read the output from your monitor based on color and brightness, and adjust them when needed. What you're left with is accurate colors and brightness to insure your prints look just like your monitor output.

However, another incredible and important feature among these systems is the ambient light readout. Essentially, these systems also have a sensor built into the front of the unit, and will adjust your monitor's brightness depending on your environment. So whether you're working in a cave-like room like I do, or in front of some ceiling to floor windows with sun shining through, you can be confident that your monitor is accurately displaying brightness and colors.

New Mexico Photograph

And color and brightness are the bread and butter to these machines. For the sake of making this simpler, lets instead think of them as white balance and exposure. With the default settings on your monitor, you're likely over exposed by about 1/2 to a full stop of light. This means your images are going to appear much darker to those with a calibrated monitor, and in print. In terms of your white balance, monitors aim for 6500K, but often miss the mark by up to 200K in each direction for their default settings. So while a photo might look great on your monitor, it could be much cooler or warmer in tone to those with a calibrated monitor.

Albuquerque Photography

Misconceptions About Calibration

Apple Monitors Don't Need Calibrated

This simply is not true.  While Apple (and many other brands) do calibrate all of their monitors in factory, this does not mean that stay calibrated, or are calibrated correctly. Most calibration software suggest that you calibrate your monitor(s) every 2-6 weeks to insure that everything is accurate. This is because color temperature and screen brightness will gradually change over time. So while the screen may be calibrated at 6500K white balance upon purchasing, it may be at 6300K after just a few weeks, resulting in incorrect color temperatures.

IPS Monitors Don't Need Calibration

IPS monitors are exceptional, and most preferred for graphic design and photography. However, they still need color calibration on the regular. The most important part of an IPS monitor is actually it's viewing angle. Most IPS monitors get their name for the ability to view them at wide angles without any color or contrast shifts, like you might see in an LED or LCD monitor. This just means more accurate color readings, even if you're a little off axis with the monitor. For an exceptional breakdown of monitor types, check out Pye Jirsa's article over at our friends from SLRLounge. With this said, color temperatures and brightness will still shift on IPS monitors over time, so calibration is still very necessary.

Calibrate To Your Phone/Tablet

Many people foolishly believe that a smartphone or tablet will have correct color temperature readings, and suggest that when in doubt, to calibrate to your phone's screen. However, more often than not, your phone actually has more color inconsistency than the average computer monitor. Aside from that, you're more than likely adjusting the brightness of your phone/tablet screen multiple times during that day, so how will you know what the correct brightness setting is for your monitor?

Why Bother Calibrating If I Don't Print/My Clients Don't Calibrate

The reason is simple, because it will result in better photos on both your screen, theirs, and look great in print if you choose to do so. The general idea is that all monitors try to get 6500K temperature and about 100 cd/m² (brightness) for their default settings. However, due to making manufacturing as efficient and cheap as possible, they often miss the mark slightly. So your monitor may be 5300K (cooler color cast), and your clients may be 6750K (warmer color cast). If your monitor is uncalibrated, the photos will look significantly cooler in color temperature to your clients, which may make the photo less appealing. By calibrating your monitor, you're assuring your settings are correct to what the manufacturer is aiming for.

When printing, a calibration system is essential, regardless of you are printing at home or through a lab. Often, calibration system will also supply you with a calibration file that you're able to send with your print order to insure all the colors and brightness will look as accurate as they did on your monitor. Tools such as this insures higher print quality, and less overseeing of the print process (No longer do I have to send my print orders to me to double check before sending them to clients).


Truly, there is no alternative to just purchasing a calibration system for your monitor. Web applications might be able to help slightly, but it still doesn't correct any color issues your monitor may be experiencing. For about $100, you can purchase a basic calibration system for your monitor(s) to insure that all of your photos are correctly exposed and toned.

However, any sort of calibration is better than no calibration. If you're curious on where your monitor stands and not interested in buying a calibrator, I recommend you getting a photo of yours printed from a major print lab, without any color corrections done to it. When it arrives, compare it to your monitor's viewing of the image and adjust your monitor to best match the print brightness and color calibration. Certainly this isn't the best method, but it'll get the job done in a pinch.

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The color temp for the sRGB spec is d6500K not 5600k.

calibrating display doesn't mean automatically photoshop will display calibrated result. You must select menu View, Proof Setup, Monitor RGB. If not you will get different result if the same picture open with Color Managed Browser like Firefox.

You are correct, but you are mistaking output profiles for viewing profiles. This unnecessarily complicates the concepts and will confuse people who are reading this article (people calibrating their monitors for the first time). Everything most photographers need to know is in this article.

As far as i know not every photographers doing calibration know that. Actually we're not calibrating display ONLY but creating display profile so both hardware and software can show calibrated result properly.
The hardware (monitor) itself cannot show 100% calibrated result by doing this procedure so if there is change by reinstalling OS we must recalibrate.
Calibrated display also need color managed software to show calibrated result.

PLEASE READ THIS, why we should do that while working on Photoshop.

"Monitor RGB (Photoshop and Illustrator)
Creates a soft proof of RGB colors using your current monitor
profile as the proof profile."

Noted: current monitor profile is a result from display calibration hardware (such as Spyder, ColorMunki)

Again, you are mistaking output profiles (what you should be soft proofing) and viewing profiles (the result of calibrating —how your monitor displays the image you are working on no matter what soft proofing profile you choose).

Both calibration and soft proofing use color profiles, but soft
proofing has nothing to do with calibration (other than it is useless if
your monitor isn't calibrated first). The thing to remember is that the image is a set of numbers that is sent from the computer to the video card where the video card translates them into a signal the monitor can read, then the monitor interprets that signal into lights for your eyes.

Once you calibrate your monitor, your calibrated monitor profile is already loaded into the video
card and makes an adjustment to ALL video data so that what you are seeing is not distorted by an
anomaly in the video card or monitor. It is passive for the user— you do not need to do anything because it usually loads on start up. Essentially, each monitor/video card interprets data and signals slightly differently, and your monitor profile makes adjustments to the data from your computer to monitor so what you see is what the numbers are supposed to show.

Soft proofing is so you can see how other devices will interpret the file at the end of editing it, whether that is a a custom profile your lab uses for printing or simply sRGB, which most web software uses to display your photo on another monitor. Soft proofing is just a way to mimic how a different medium will display your photo so that you are not surprised when you get your prints back. It does this by changing the image data before it goes to the video card.

This is where they differ. At it's most basic, soft proofing changes what numbers are sent to the video output device/video card (to mimic another medium) then those numbers are adjusted by the video card (using your calibrated profile) to compensate for monitor inaccuracies.

If you soft proof with your monitor profile, the image is adjusted as it is output to the video card and again at the video card. You have adjusted it twice and made it less accurate for no reason.

I'm not trying to be an ass about this, but this is a very complicated subject, and you are giving out wrong information that will only make it more confusing. 95% of photographers only need the information in this article and a basic knowledge of Photoshop to be able to color correct their own images.

There is nothing ultimate about this guide, especially for a topic like this one :/

Zach Sutton's picture

What exactly would you like to see added? The software and process of calibration itself is exceptionally painless and easy to do. I suppose 1100 words of free content is never enough, eh?

Wide gammut management, profils, differences between OS, advice about bulb choices and work environment. Then remove the part explaining what is calibration and the one about misconceptions then it remains very few for a "guide".

And btw, the article is essentially about monitor profiling, not calibration. And yes, it's miles away from ultimate.

Seriously, you wanna play the "never good enough" card? I'm sure your trying to do a good and helpful thing here, but your article are missing a few important parts + there are a few things that are directly wrong. Maybe you should ask a color expert the next time you would like to write about color management. Or at lest, don't get med when people comment your work :)

It's not automatically worth something even if it's given for free.

Anyone could have gather as much info on a wiki page and the spyder pro home page.

Great Julia !!! I 'd like to add that, It is very important to have a camera calibration as input and we can do it with a colorchecker card . by this way tha camera take the real colors and make it easy to with balance our photos.
It works perfectly with a calibrated monitor and printer.

Zach Sutton's picture

Good advice, though my name is Zach...not Julia :-)

Ansel Spear's picture

ULTIMATE guide? Boy, if that's your idea of an ultimate guide, I'd hate to see one of your more basic guides!