General
This page explains
a manual printer calibration that does result notable accuracy improvement
or provides a screen to print match. However it takes quite a lot of
printing material and work.
In my opinion the
best (that is most accurate and definitely easiest) way to calibrate
a printer is, by far, ICC profiling. However ICC profilers are expensive,
especially those that allow fine-tuning. Some printers come with ready
made profiles and it is very beneficial to fist experiment with them.
Even if ready made profiles are not very accurate they may easily give
better match than this manual calibration can.
Compensating
the Dotgain of Printers
This calibration process is good
for any type of printing device such as lasers, ink-jets or dye-subs.
It is valid for printing both B&W and RGB images.
Dotgain can be compensated within
the CMYK separation process, this process is not discussed here.
What is Dotgain
All printing suffers from the phenomena
called dotgain. Dotgain is the uncontrolled spreading of the ink (solid
or wet) of printed dots on the printing surface. Dotgain can be positive
or negative, i.e. the dot can either gain more area or lose some of it.
See a microscopic photograph
of typical appearance of the dotgain if you wish.
Modern laser printers are able
to change their dot size in order to print sharper fonts or images.
This is a controlled function, not the dotgain phenomena.
Dye sublimation printers are
said to be continuous tone devices but they also have dotgain. Even
if they do not utilize dithering they do produce the image dot-wise
and the dot area most often is not equally saturated.
The amount of dotgain
differs between printing surfaces (e.g. copy-paper, glossy-paper or
transparency) even for the same printer. Dotgain affects mostly to the
midtones, making them
more dark.
Unfortunately the dotgain is
not all
Most of the printer manufacturers
try to make the intensity-scale (or tonal scale) of their printers to
approximate the transfer characteristics of uncalibrated monitors.
By doing so the spreadsheet etc. office graphics will print acceptable
since office workstations most often have uncalibrated monitors.
Often this gamma tweak in the peripheral printers is 1.72 (the default
gamma of Mac systems) but some printers may have a gamma tweak as high
as 2.5.
Traditionally peripheral printers
provide no option for bypassing this gamma distortion, a policy that
is rather difficult to understand. Such
printers are not the best possible choice for digital imaging because
this thumbing of the transfer curve of the printer degrades the image
quality (by large quantization errors) even in the case the image is
compensated for this gamma tweaking.
Because of the thumbing there
can be up some 30 intensity levels in the black end of the intensity
scale that always will print pure black.
On the light end of the scale
there can be several intensity levels that, when printed, are seen as
pure light (possibly with some dirt). This is partly because the dots
will land so far apart that the eye is not anymore fooled to see that
as a smooth, even intensity level and partly because the gamma thumbing
of the transfer curve that makes intensity codes to appear far apart
each other at the highlight.
Dotgain
and Gamma Compared
The below graph shows the mathematically
derived characteristics of printer dotgain and monitor gamma.
Mathematically the dotgain is not
a curve but contains two line sections with the knee point at exactly
50% input intensity (level 128), that is direct result of the dithering.
This is not the exact case in reality because there are other issues that
affects to the dotgain like the paper quality so it is best to measure
the transfer curve. Note that a dotgain of 20% is very large
even for an ink-jet printer.
The effect of the dotgain is
always largest at 50% intensity and in case only a single the dotgain
percentage value is given it will be the dotgain value for 50% intensity.
Monitor gamma is about 2.4 to
2.6, the value is dictated by the physical characteristics of the CRT
tube. CRT monitors follows the theory quite accurately so a gamma value
of 2.5 is a good average.
Because printer vendors are
distorting the transfer characteristics of the printers (by the printer
driver software) in order to make the printed images to approximate
the image appearance on an uncalibrated monitor, the pure dotgain
is rarely seen, it is buried below this much larger alteration. In general
the transfer characteristics between printers varies greatly and the
only way to print accurate (or even decent) images is to measure the
transfer curve of the printer and then compensate the image for it.
The dotgain compensation method
described below will correct both the gamma tweak and the physical dotgain
at the same time. It will also automatically adjusts for the black-point
and white-point of the ink/paper and also takes the paper quality issues
into account, automatically. All these good thing comes from the fact
that the eye itself is used as the measuring instrument, in comparison
mode that it very accurate.
Measuring
the Dot Gain or Printer Linearity
To measure the dotgain or printer
linearity, download either one of the packages below:
- two sheet dgm_11.zip
~289kb contains dgm_1of2.bmp and dgm_2of2.bmp. They give 11 control
points for the calibration curve.
- three sheet prlin.zip
~488kb contains prlin_1.bmp, prlin_2.bmp and prlin_3.bmp. They
give 19 control points for the calibration curve.
The control points that the two
sheet methods provides area a subset of the control points of the two
sheet image so there is no need to download the single sheet if you choose
the two sheet chart.
These charts are
all gray, they are suitable
for creating the dotgain compensation (or printer linearization curves
or gray linearity correction curves) for both color and b&w printers
with printing resolution ranging from 300 dpi to any higher dpi value.
Each of the sections in the image(s)
have:
- Input level (the
x= value)
- BaseLevel of the
gray-bar (the b= value)
- Index (the numbers
on top of each sections) .
The sections will give 11 (or
19) control points (x,y) by which the compensation curve can be easily
made. The y value is calculated by y = b + index.
Before you print the dotgain
measurement image please familiarize yourself with the various settings
of your printer driver and set them all to a known and "neutral"
position. You should use these known settings always when you use the
dotgain compensation curve that is the result of these measurements.
It is usually best to let
the printer to do the halftoning, not the image manipulation system.
Modern printers are able to change their dot size and this feature
is most often used also in halftoning in addition to the main purpose;
to print sharper fonts.
Reading the Values from the
Dotgain Measurement Images:
All the other sections except the
sections x = 0 (black) and x = 255 (white) must be viewed at a great
distance (about 5 meters away or more) so that the coarse halftoning
of the background is fully averaged by the eye. The function
of the coarse halftoning is to make the dotgain in the background area
negligible and it does so with good accuracy but only if you view the
image at proper distance.
You may find that a help from
a friend may be a big assistance in doing this. Ask him/her to point
the print using a pencil according your instructions.
For each section except x =
0 and x = 255 sections, view the image at great distance and locate
the point where the gray-bar exactly match with the background. For
each section, make a note of the x_value, BaseLevel (b= value)
and the Index of that point. For each of the sections calculate:
For the white (x=255) and black
(x=0) sections view the image at the reading distance and locate the point
where the graybar merges with the background and again calculate the y_values.
Note for the white section:
If you are using lower than 1200dpi printer it will usually make the
appearance of the image better if you define the white to be the level
just a little before the dithering starts to show obtrusively. In
addition this way there will not be any specular white spots in the
print, even if there are saturated areas in the data.
In case a 1200 dpi or better
printer you can enhance the appearance of the image by defining the
white point to be just a little before the specular white, so that
there will not be those white spots/areas in the image.
Error of the procedure
The Dotgain Measurement Image has
an error that depends:
- on the actual amount of
the pure dotgain of the printer. The error comes from coarse half-tone
areas of the background only.
- on the DPI resolution of
the printer (the image is self is set to 300 dpi and should not be
changed).
- For a 300 dpi printer
the remaining dotgain at 50% intensity is the actual dotgain times
0.125. (e.g. an actual dotgain of 10% is reduced to be only 1.25%).
- For a 600 dpi printer
the remaining dotgain at 50% gray is the actual dotgain times 0.0625.
(e.g. an actual dotgain of 10% is reduced to be only 0,625%)
- For a 1200 dpi printer
the remaining dotgain at 50% gray is the actual dotgain times 0.03125.
(e.g. an actual dotgain of 10% is reduced to be only 0,3125%)
The error is always largest at
50% intensity level (x=128) and decreases linearly toward black (x=0)
and white (x=255) where the error is 0.
The common 8 bit color or
gray system limits the achievable accuracy to 1/256 or 0,4%. If a
10% actual dotgain is assumed then for a 1200 DPI printer the error
is -1 level at 50% intensity, virtually negligible. For a 600
DPI printer there is error of -1 or -2 levels at 50% intensity (still
quite negligible). For a 300 DPI printer the error is -3 or -4 levels
at 50% intensity.
What to do with the control
points
Using the image manipulation software,
create the compensation curve in the appropriate dialog with the aid of
the above control points and save this curve with a name that indicates
the device it was created for. In case of Adobe Photoshop this dialog
is Image/Adjust/Curves. Every high end image manipulation software has
such a dialog with what you can adjust intensity levels in non-linear
manner.
The measurement points should
be fitted onto a smooth continuous and monotonous curve ( the y value
only grows when going from black-point to white-point). There is something
wrong with the printer if the measurements suggests a negative slope
(y value decreases) somewhere in the curve. The curve should be in a
form of a slanted and inverted s-shape, approximation of the gamma function,
comprised by two or three linear segments or in case of good printer:
linear.
Then use this curve as described
in the Linear intensity
Space, compensation curves section to compensate a copy of the image
before printing. Never save the printer compensated image, keep only
the original and make a copy and compensate that.
Note: The compensation curve
above works when the image is linear. In other words the transfer curve
of the printer is the inverse of the above compensation curve. In case
you are working in some gamma space (and not with linear images) then
you will need the transfer curve of the printer in order to calculate
the required compensation. To plot the the transfer curve of the printer
just rename all the x and y values as y and x values (all x's become
y's and vica verca).
Photoshop Transfer Functions
In Photoshop it is easy to calibrate
any printer using the File/Print/Setup/Transfer -dialog. The above measured
control points needs some recalculations as the dialog uses percentages
and light and black are the other way around. So you would calculate:
x' = 100- (100 * x / 255)
y' = 100- (100 * y / 255)
Where the x' is the argument
and y' is the correction value (to enter into the boxes) in Transfer
-dialog.
In case the transfer curve of
your printer does follow the gamma law and you know the value of it
you can simply calculate the correction that is needed. Here
is a zip file of transfer function (*.atf) files for gamma compensation
in the range from 1.0 to 3.0 and the inverse of that.
Example: if your viewing gamma
= 2.5 and the printer is in gamma space = 1.72 then you will need to
load into File/Print/Setup/Transfer -dialog the
gamma 1.45.atf since 2.5/1.72
=1.45.
Note that usually printers do
not follow the gamma law accurately: In that case the above transfer
functions do not provide accurate printer calibration.
About the Dot Gain Percentage
The dot gain compensation may be
supported by the printer driver as a singe percentage setting. This could
be calculated from the above control points but this is not an accurate
method to compensate dotgain since most often the printers grayscale is
made to match uncalibrated monitors.
Calibrating PostScript Printers
Some PostScript printers can be
calibrated easily with a PostScript command file that is sent to the printer.
This is useful if the application that is used for printing (like most
of the office grade applications) does not provide means for printer calibration.
By calibrating the printer the
image-files need no printer compensation and this reduced the workload
considerably.
For more information please
see Calibrating Lexmark PostScript
Printers. Currently I have no knowledge for other brands but the
I will add pages as soon as more information becomes available.
There is also a general
PostScript hack for calibration, it involves printing the the job
into a ps-file and then editing a calibration block into it before sending
to the printer.
Spectrum
Maps
These maps
are useful in creating color-space calibration manually. The zip
archive contains 6 spectrum maps (with 1, 2, 3, 5, 10 and 15 degree
hue separation) in RGB space. Each of the hue-planes in the charts
are divided into 307 perceptually uniform saturation/lightness
patches (of which 18 end up to gray).
The charts
are higher bit-depth linear files. They come in miniature size,
before use they need to be resampled up using nearest neighbor
interpolation.
In short,
once the transfer function of the printer is known, the spectrum
map is compensated for that transfer function and then printed.
The printout is then visually compared against the appearance
of the chart on the CRT and a hue-angle+saturation conversion
is created in attempt to correct hue-shifts and to boost the saturation
as much as is possible without serious clipping.
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Timo Autiokari, 1997-2007. Contact info |