According to the Eizo software, 6500 K would be for web design and 5000 K for printing applications.īy "printing applications" they really mean pre-press - books & magazines mostly, working with CMYK offset presses. However, it seems that the warm cast is more noticeable when browsing the web than in LR and PS. Thanks! I have a Spyder 4 on order as I was given a rebate for upgrading from Spyder 3 Either the current i1 Display Pro (my recommendation) or Spyder4.
If you have a really old Spyder3 and suspect your visual results still aren't quite what you're thinking they should be, then at some point you may consider switching the colorimeter to one that's better suited to getting the most out of your high-end monitor. Depending on how old the Spyder3 hardware device is, it's either not well suited for use on the monitor (oldest Spyder3's had problems on wide gamut displays, and would produce less-than-accurate results) or moderately suited to the display (newer ones that were corrected). I keep my room relatively dimly lit, and calibrate to 90 cd/m2.Īs a side note, you've invested a lot in the CX270 display. But if your room is not typically bright, you may need the monitor brightness targeted lower or higher. 100 cd/m2 sounds reasonable for a typical level of ambient brightness in your work room. I personally pay a fair amount of attention to this sort of stuff, and I calibrate my NEC wide gamut display to D65.
Something more towards 5000K / D50 would be used if you're doing a lot of pre-press work, or if a particular print lab you must use demands that you calibrate to D50 in order to match their print process. The consensus of anyone you ask here almost certainly will be to calibrate a monitor 6500K / D65 for general photography work including printing at most common photo labs or on inkjet printers. There is consensus but it's based on some context (and a few assumptions) that rarely gets properly brought into the discussion.