Bench tool

Monitor calibration

If your monitor clips at 250, you cannot see whether a background is 250 or 255. I check these patches before every editing session on an unfamiliar screen.

Near-white steps

This is the one that matters for white backgrounds. You must be able to tell 252 from 255. If you cannot, lower contrast until you can.

240
244
246
248
250
252
254
255

Near-black steps

0 stays black, 4 to 6 just visible.

0
2
4
6
8
10
12
16
20
24

Grey ramp

Smooth and neutral. Any tint here will end up in your whites.

My five-minute routine

  1. Warm the monitor for thirty minutes.
  2. Set the room to the light I edit in: dim, neutral, no window behind me.
  3. Picture mode to sRGB or Standard, colour temperature 6500 K.
  4. Brightness so a white page roughly matches a sheet of paper next to the screen, about 100 to 120 nits for print-matched work.
  5. Contrast down until 252, 254 and 255 are three different patches.

Why it matters on white

The most common fault I see in seller photos is a background that looks white on the photographer’s screen and reads 244 in the file. A monitor that crushes the top end hides it. Once the patches separate, the grey shows itself and you can fix it with the method in removing shadows from white backgrounds.

Eye calibration sets levels only. For colour-accurate product work, profile the display with a colorimeter. The rear screen of the camera needs its own check; see calibrating a camera LCD.

Questions

Around 100 to 120 nits in a dim room for print-matched work, a little higher in a brighter room. Far lower than most monitors ship at.

For consistent product colour across a catalogue, yes. For checking that white is white, these patches and the histogram are enough.

Contrast is too high, or the monitor’s vivid mode is clipping. Switch to sRGB or Standard and lower contrast.

Other bench tools

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