Originally Posted by Sybaritic
Of course the matte screens look washed out. Why? Because they are coated in such a way as to best replicate the manner that paper takes ink on the page.
It's interesting to see too that some of the original iMac displays are SWOP certified along with the right color tools:http://www.idealliance.org/swop/cert...on/certmfg.asp
Apple mention this certification on their Cinema Display page:http://www.apple.com/displays/technology.html
"While Apple displays leave the factory tuned to perform out of the box, you can use calibration devices such as the ColorVision Spyder2 Suite, PANTONE Monitor Calibrator, or color calibration tools from X-Rite to create a custom ColorSync profile. This gives you the peace of mind that an Apple display will integrate perfectly into your color workflow, ensuring accurate color from capture to screen to print.
The color on apple displays is so good that you can use them in a SWOP-certified (Specification for Web Offset Publications) soft-proofing workflow. Display-based proofing system Remote Director from Integrated Color Solutions and Matchprint Virtual Proofing from Kodak are both SWOP certified. The prestigious SWOP certification means you can use a soft-proofing solution to approve jobs for press production on-screen, without the need for hard-copy proofs-providing significant time and cost savings for print professionals.
Certified systems are capable of producing proofs visually identical to the SWOP Certified Press Proof, as defined in ANSI CGATS TR 001, Graphic Technology. ICS and KPG choose Apple displays because they’re capable of creating onscreen proofs with virtually the same brightness and feel as paper.
If this wasn't important, Apple wouldn't use it as a selling point. Here's what I think may have happened though. People were quite possibly buying iMacs for photography work and seeing that they already had a bundled S-IPS SWOP-certified display had no need for a separate screen. No reason then to buy any of Apple's Cinema screens.
Solution: Apple downgrades the display panels given that consumers don't need it anyway, which makes the machines cheaper and this means people who do advanced color correction have to buy an external display.
Now, in all fairness, £399 for a 20" Cinema display is a fairly minimal outlay to ensure color accurate prints but still, photographers are paying for the bundled display too.
I would actually love to see Apple rip apart one of their Cinema displays and fit the iMac components in there. Even if they sold it for £399 + £799 - £100 = £1099, I'm sure photographers would buy it for the accuracy alone as it would be shipped calibrated.
Here's a photography review going through calibration on the glossy screens:http://forums.dpreview.com/forums/re...ssage=24321625
The whole discussion of glossy vs matte actually seems to be fairly consistent across all the forums it's been raised on. The same opinions come up. Some people love the glossy and wouldn't go back and their prints seem to be ok, others hate it and can't calibrate it saying it badly affects skin-tones and greys. Some people say that because there are varying opinions then it's entirely subjective.
It can't be entirely subjective due to the technical specs of the displays and the performance in different lighting conditions. If a glossy screen isn't SWOP certified then it is clearly technically inferior for certain types of work. As I said earlier, Apple have no glossy Cinema displays and for good reason.
Lighting conditions affect both and for pre-press, an ideal room setup is described like this:
"The ambient light in the room designated to contain the color-matched computer monitor should be controllable. This
means that the room should be free of any strongly-colored walls and/or objects that may adversely affect user peripheral
vision when called upon to access color. The ambient room illumination should not vary greatly in either brightness or
color temperature (e.g. in the case of different times of the day and/or year). Ideally, the room should be painted a
neutral gray color and illuminated by D50-type illumination. In such cases, it is also advised that the room illumination be
periodically checked as to the actual color temperature of the lamps, to counteract the effects of lamp age. Both the viewing booth area and monitor proofing area should be shielded from direct incident and/or reflected lighting. Both the
viewing booth and computer monitor should be kept at least 1.00 metre (approx 3 feet) from room walls."
The note about the peripheral vision is interesting because people have commented on the black border round the iMac display affecting the color perception - it's also the worst color to choose for a reflective display. I've been in a pre-press room and I always wondered why the place was so depressing. Now I know. They also only used towers with matte displays.
Here are some more comparison images, including one between the white iMac and the new one:
I'd hate to be this guy. That machine is actually turned on:
You can see to some extent how even the visually striking appearance of the aluminium iMac affects how you see the screen. The white iMac surroundings are very easy to ignore including the grey Apple logo.