Eizo colorEdge CG301W Monitor

I am exploring the use of an Eizo ColorEdge CG301W monitor for use with my Mac Pro. I am interested in this monitor primarily for use in photography.
Any comments or experience with this brand/model is appreciated.
Thank-you

I use the Eizo CG220, have done for 3 years now and it is a fantastic monitor for Photography. Hardware calibration, you see the full Adobe colour gamut on screen it is simply stunning for image work.

Similar Messages

How to link MacBook Pro 15" Retina with 2 EIZO ColorEdge CE240W monitors

I have the new MacBook Pro 15" with retina display (with 2 thunderbolt outputs, 2 USB, and an HDMI) and 2 EIZO ColorEdge CE240W monitors (they have a VGA, DVI, 2 downstream USB, 1 upstream USB). How can I go about linking my MacBook Pro to the two EIZO monitors?
Thank you very much!

Thunderbolt FAQ
http://support.apple.com/kb/HT5219
MacBook Pro
https://discussions.apple.com/community/notebooks/macbook_pro

Please could someone confirm the Graphics card needed to support a Eizo ColorEdge CG275W monitor, resolution 2560x1440

Hello, community, Please could someone confirm the Graphics card needed to support a Eizo ColorEdge CG275W monitor, resolution 2560x1440. I currently have a Mac Pro with a NVIDIA GeForce 7300 GT VRAM (Total): 256 MB, which I'm guessing by it's age will not handle the new monitor. Any advice greatly appreciated.
Kindly Andrew Nash

https://discussions.apple.com/message/5024326#5024326
I would dump the 7300GT regardless and get the ATI 5770 $249
Apple ATI HD 5770
5770 in the 2006 Mac Pro

Eizo ColorEdge CE240W and G5 dual 2.5ghz ATI 9600 XT (128mb)

Hey everybody
Having som problems with my new eizo coloredge CE240W monitor, and my ATI 9600 XT graphics card.
When I boot the screen show the gray background with the apple logo, but when OS X (10.4.8) start loading the screen turns off, as if there is no signal.
I guess that this is a driver problem, but I cant find any driver on ATI's homepage that fixes the problem, do any of you have any idea what to do?
G5 dual 2.5ghz Mac OS X (10.4.8) ATI 9600 XT (128mb) CE240W monitor

flatus-
Tis odd.
The reason I asked about the menu and selections is
that the CE240W specifications list the DVI-I 29 pin
x 2 input signals as "switchable".
I understand this as the ability to change input source, either signal 1 or 2 (both DVI inputs). I am able to select between the two, without any problem.
I am sure that you already checked and maybe I am
missing something but I don't see the 9600 XT listed
here as a supported card:
http://www.eizo.com/support/compatibility/graphics/30.
asp
I found the 9600 and 9600 SE but I dont find the 9600 XT, I believed that the 9600 indication included 9600 XT.

Eizo ColorEdge CG275W OR Eizo FlexScan SX2762W

Hi,
Just wondering if anyone is using above monitors, I was going to go for the Flexscan SX2762W for day to day use, using Adobe suite- Premiere, After effects, Photoshop. Not looking for colour grading etc, just looking for a good monitor. I was going to use a Samsung 32 inch TV, ISF calibrated for external output using either a Matrox MX02 LE or AJA, BlackMagic etc.
Or I was thinking of going for the CG275W for my main monitor then when funds permit move that over to use as an external monitor and buy another CG275W or an SX2762W for main use.
Any suggestions ideas much appreciated.

Hi Jim,
Thanks for the reply much appreciated.
As I'll be sitting 2 - 3 feet away from screen a 32" HD TV doesn't look practical.
I've decided I'll be going for the Eizo CG246, it's self calibrating and hardware calibratible. I'm going to be using this with the Matrox MX02 LE. I can calibrate it first before using Matroxs calibration procedure if it is required. I know it's expensive at £1400, but once I start colour grading I need something accurate.
If I go for the 27 inch Eizo monitors there will be black bars top bottom and to the sides, watching 1920 x 1080 content at 1:1 pixel mapping. Which is a waste of monitor as the full screen will not be getting used. Plus majority of computer monitors do not do 24Hz (24p) or 25Hz (PAL). The Eizo CG246 can handle this.
Cheers.

Anyone have any comments on the Eizo ColorEdge CE240W

It seems like a pretty decent monitor. Can't decide on either an 30" ACD, LaCie or the Eizo. I would love the real estate of the 30", but not the price tag. I'm leaning towards the Eizo but would like some feedback if anyone has any.

I posted my experiences with the very good Eizo CE240W here.

Severe color issues in CS5, EizoCG245W monitor, calibrated...help!

Hi!
I'm working with an entirely new system here from the ground up. New computer with Windows 7, Eizo ColorEdge CG245W monitor and Photoshop CS5 (I had previously been using CS3 on my old system/monitor). Everything was hooked up within the last couple of days and PS installed as well.
The problem I am having is that when I open an image in PS, it is severely dull and desaturated looking (esp in the reds, yellows and oranges).
The "color settings" I am using are correct for the lab I print at. I am using sRGB.
Thing is, when I view the image in My Pictures or on the Web (IE or Firefox) or in Microsoft Office Picture Manager....the image looks correct and the same as my lab test prints.
But if I view the image in either CS5 or Windows Photo Viewer, I get that horrible dull/desaturated look.
I should mention as well that my monitor is calibrated...I did that yesterday upon getting everything hooked up. When I am in CS5 and choose "Assign Profile"...if I choose the monitor profile generated by the calibrator (mine is CG245W (22547100) Photography, Graphic Design) then the image looks correct and all of the colors are saturated nicely. But, obviously, I cannot choose this as my working space or color profile!!!
What is going on? It's almost as if there is a problem with Windows not recognizing the calibrated profile or something...but I am unable to fix this and I NEED it fixed asap!!!
Thank you!

Is it possible that what you perceive as "correct" is actually oversaturated?
I'm not familiar with that monitor... Is it a wide gamut monitor? If so, you'd expect sRGB to look less saturated than the same images displayed in non-color-managed applications.
You do realize that images displayed in IE 8 and earlier, and many other photo viewing applications, are not displayed through a color-management system, right? These are not color-managed applications. Photoshop is. Also, assigning the monitor profile to your image essentially shuts color management off.
What you're saying is essentially that you like what you see when color is not managed.
Assuming no unexpected glitch, such as a bad profile, all seems to hinge on what color space the monitor is delivering, and whether it was delivering that same color when calibrated.
How did you calibrate/profile it, specifically?
-Noel

Color Management Confusion-Photoshop and monitors

Ok, so I am asking this question because I am literally at my wits end with this color management stuff. I have become so confused in the past few days that I can’t even think straight. Anyway, I am hoping you all can help me “understand” how it all work. Let me start with some background information (since I know it will probably be asked)
am a photographer, I utilize Lightroom 4 and CS3 (I know its old but I am planning on getting CS6 soon).
put my pictures on the web that I will assume will be viewed on multiple different browsers.
also will be sending my pictures to print at mpix or whcc. I may decide to print my own but haven’t really made that determination at this point.
have a mac book pro that I work from.
Ok, so I need to get a monitor to work with but I am unsure if I should just buy the thunderbolt mac monitor or get a wide gamut monitor. I have heard so many people say that the wide gamut monitors just messed them up. Also, I am bit confused on the nature of monitor profiles and how they work with photoshop and lightroom. I would assume the monitor applies a profile at all times? I also don’t understand the existence of the prophoto and wide gamut profiles for the mac monitors… they clearly are not wide-gamut monitors, so how do these profiles exist for them, and why would they be useful (if you set the profile to prophoto for example, it is all washed out as expected). Are these profiles “assigning” a profile to the color? I am assuming so because if they were converting them to just a standard rgb then you wouldn’t have the faded colors (correct?).
I just am so nervous that I am going to create something that looks great in Lightroom or Photoshop but that looks awful on the browser, or worse, on a different monitor (standard monitor) and I would have no idea that it looked bad. Or, if I send something to a printer only to get a mess back.
Also, please let me know if I correct in this. If I am in photoshop and I have an untagged image (send via a friend), and lets just say it is really a prophoto image (although my friend didn’t tell me) and I say to assign the prophoto profile (upon import to photoshop). If that truly is the correct profile, the image should look correct. Now consider two scenarios from there: 1) I embed that profile in the image, if I upload that to the web (I know to be cautious, you should always use srgb for web), if the person has a color managed browser, the image would properly appear, because the browser would recognize the profile (in this case “prophoto”) and convert it to whatever it needed to be. But, if it was not a color managed browser, I run the risk that the web browser will just assign a profile, which will wash the photo out most likely, correct? Ok… and scenario 2) after I get the image from my friend and assign the prophoto profile (since that is the correct profile the image was actually created in, although it was untagged when it was sent to me), the image will look correct… BUT, is photoshop displaying the prophoto profile, or is it converting to RGB for my viewing, or is my monitor converting it to rgb for my viewing? I guess I just don’t understand how the monitor fits into all of this. You HAVE to use your monitor to see your images, and since most monitors (including my current one are standard gamut) it would make sense that you actually can’t see anything in the prophoto profile, and you are truly looking at an srgb profile since that is all your monitor can display.
Oh ya, and what benefit is the color match rgb? It seems everyone speaks of the srgb, prophoto, and argb.. but never some of the others.. so maybe I am just lost. I would even appreciate a link to some tutorials if you think those would be helpful.
I am seriously confused.. I would really appreciate the help.

I am not surprised you are confused about colour management because its a confusing subject. Luckily you own a Mac so you can get to grips with what the problems that colour management solves using the "colorSync Utility" and you will find this in Applications >> Utilities >> colorSync Utility. If you own a windows computer then I am sorry but you will be out of luck here and you should know better when you buy your next computer!! I am not sure why Apple gave us this application but it is really useful and all will help you understand Color Management.
1. Launch Applications >> Utilities >> ColorSync Utility.
2. You will see a list of "Installed ColorSync Profiles". Choose Adobe RGB 1998 which I hope you have chosen in you camera preferences.
3.You will see a 3D representation of the Adobe 1998 Colour space. This represents all the colors this colour space will hold.
4. Top left hand corner you will see a little arrow pointing down next to "Lab Plot". Click on this and a drop down menu will appear.
Choose "Hold For Comparison"
5. Now somewhere in the "Installed ColorSync Profiles" list you will find the profile for you monitor. Choose this.
6. You will now see a new colour space inside the Adobe 1998 Colour space. If you have a cheap monitor the colour space will be small
inside the Adobe 1998 profile. This means that you monitor cannot show you all the colors that are missing.
7. Now choose a printer profile say, if you use them a profile for an Epson paper or any printer profile you have and you will see another profile in the Adobe 1998 box which shows you the only colors that your printer can print. If you like choose your monitor profile then hold for comparison then the printer profile and it will clearly show the mis match between you monitor and printer.
8. Now choose SRGB and this will show you what colors a person using an average Windows monitor can see, poor people.
So this is the problem, all devises can reproduce only a certain range of colors. The adobe 1998 profile does not show all the colors our eyes can see " choose Generic Lab" profile, then "hold for comparison" then Adobe 1998 and you will see Adobe 1998 is a small profile but is a good average of our collective colour vision.
So how to solve all these missing colour problems. Well if you think of each devise, including you camera as speaking a different language from you monitor and printer then it is easy to understand that you need some sort of translator so that they all know exactly what colour is being talked bout pixel by pixel in an image. This is held in the ICC profile, but an ICC profile has o do more than this.
Say you camera can produce a specific red we will call for demo purposes "001" and your monitor cannot produce it, how do you solve this? Well it is very easy to fool our eyes. Our eyes work by comparison so if the profile maps red "001 to the nearest red that the monitor can show and then proportionally remaps all other reds to fit within the reds the monitor can show us then we actually think we are seeing a full range of reds. The problem comes if we use the wrong profile for this. The red 001 could be re mapped anywhere and could be outside what the monitor can show. Say that happens but the printer can reproduce that red 001. We would see an image on the monitor with not many reds and when we printed it we would be shocked to find reds on the print. Worst, we would see an image on the monitor without reds and would correct for this and end up with a print with heavy reds and would not be able to work out why.
So to solve this we should:
1. use the correct camera profile when we are opening "Raw" files.
2. Make sure you have the correct monitor ICC profile selected in "System Preferences" >> Displays.
3. In photoshop we should make sure that the " Edit >> colour settings " are set to Adobe 1998 for RGB.
4. If you are going to print you own photo in Photoshop go to "View >> Proof Setup >> Custom" and a box will
open. Choose the profile of your printer and paper and choose "Perceptual" for rendering intent and then " OK". If you cannot find
a profile for you printer and paper go to the printer of paper manufactures web site and download the profiles and instal
them.
5. You can now adjust the colors and contrast and photoshop will simulate how the output devise will deal with this. If you
are using an outside printing house, they will supply you with their ICC profile to download so just follow the same procedure and
choose their ICC profile and and do you colour correction.
If you have a cheap monitor you will still not get a 100% result but you will get closer. You really need a monitor that you can calibrate
regularly because generic ICC profiles are just that. They are made from the results of many monitors and so are 90% or worse accurate.
If you want to see a flag ship monitor at work go to http://www.eizo.com/global/support/db/products/software/CG223W#tab02 and go
to the bottom of the page and download the Eizo Coloredge CG223W monitor profile, instal it on your mac then open then ope
Launch Applications >> Utilities >> ColorSync Utility choose Adobe 1998 the hold and compare it with the Eizo Coloredge CG223W
profile. This is not the top of the range Eizo monitors that we use but you will see that this monitor will show most of the missing colour you monitor does not. This is actually a good tip if you are buying a monitor. Download the monitors profile and see how good it really is.
The weak link still is printing. The colors you see in RGB on a back lit RGB screen are very hard to reproduce by CYMK inks on paper. Here you really should have a profile made for your printer and chosen paper. If you don't want the expense of buying a calibrator and doing it yourself, there are on line services that will do this for you.
One final point you must remember. If you are using soft proofing in Photoshop ( "View >> Proof Setup >> Custom" as explained above), when you print you MUST choose in "Colour Handling" "Photoshop Manages Colour" and in the next step when the printing box appears
you will see a drop down box with "Layout" in it. Click on this and choose "Colour Management and choose "Off No Colour Management". If you do not do this Photoshop will manage the colour then the printer will do it again and the print will be a disaster.
This is a starting point really. Colour management is difficult but just try to remember that you need a translator between each step in the process to make it work so you have to make sure the correct profiles are being used by you camera, the program you use for opening the Raw photo files (Please don't use jpegs straight from the camera, but thats another subject), the correct monitor profile and output profile. If you don't check these it is like chinese whispers and your picture will be printed in Double Dutch!!.
Hope that helps. I am on location In Italy for a couple of months so will be unlikely to be able to reply to any questions for a while. Will try to check back and see how you are getting on. Drop me a line at [email protected] if you have any questions. Good luck.
Paul Williams

Prints too dark and contrasty when printing from IDCS3 to Canon IP4000 inkjet printer

I have a problem with colours when printing from IDCS3 onto a Canon IP4000 inkjet printer and Ilford Galarie smooth pearl paper. I cannot find a solution to it or maybe I am not looking for the right search terms. Maybe someone can help me here.
I am using IDCS3 on a Mac G5 PPC with 2Ghz dual processors running OS 10.4.11. I have an Eizo ColorEdge CE210w monitor which I profile regularly with a Gretag Macbeth eye-one device.
I have designed a 50 page document with about 200 images. Now when I print from IDCS3 the images are too dark and very contrasty. But when I print the same image from Photoshop CS3 the print is fine.
I have been using the canned ICC profile from Ilfords website.
The one difference was that in Photoshop I had a choice of rendering intent in the print dialogue which I set to relative colorimetric. (I have subsequently found that I have the choice of rendering intents in ID if I select each image and change the RI before I get to the print stage which can be a pain)
I would appreciate your help with this as I do not really want to redesign the layout in Photoshop all over again.
Thank you in advance.

>The one difference was that in Photoshop I had a choice of rendering intent in the print dialogue which I set to relative colorimetric. (I have subsequently found that I have the choice of rendering intents in ID if I select each image and change the RI before I get to the print stage which can be a pain)
You can change overall rendering intents for each document under Edit/Assign Profiles.

Icc profile locations inconsistent and confusing

I apologize in advance for this long winded post, but I really would like some help, if anyone is willing to indulge me. Ive done some searching on the forum, and got some info, but I feel Im still missing something.
My issue is with printer/paper profiles, and which to use to optimize print/monitor matching. A bit of background. I have not bothered until this morning to set up my Epson 2200 printer on my Mac Pro computer. Today, I finally did so. Im running an 8 core Mac Pro, 4 GB memory, and Lightroom Rev 1.1. I downloaded the latest Intel Mac printer driver from the Epson site, and installed the driver. In addition, I downloaded the paper profile for Epson Premium Luster paper for the Mac from the Epson site (I was surprised to note that the download was not just .icc profiles, but instead, a program that installed the profiles (though the program did not say where the profiles were going, or what the profiles were called).
Next, I followed the directions for printing in Lightroom that Scott Kelby included in Chapter 8, pages 272-277 and 290-295 of his The Adobe Photoshop Lightroom Book. I was able to find 3 profiles for Premium Luster Paper when I followed step 4 on page 291 of the book, when I used the other option for Profile under the Color Management pane. The profiles were called, exactly, SP2200 Prem.Luster 1440.icc, SP2200 Prem.Luster 2880.icc, and SP2200 Premium Luster PK, and I was able to select all 3 of them by clicking the checkboxes in front of the profiles and now they show up as selections for printing. Thus far, I have experimented with the 1440 and PK profiles, and printed images using both perceptual and relative rendering intents, and Ive found, to my poor eyes at least, using the PK profile, with perceptual rendering intent, yields the best printer/monitor match (yes, my Eizo ColorEdge CE240W monitor has been recently calibrated using Monaco Optix, in case you were wondering), not great, but marginally acceptable. So far, so good. Now, here are my issues:
I am trying to understand where the 3 profiles came from, since Im now paranoid about losing them, since I think Im headed in the right direction, at least. When I do a Spotlight search on my Mac, I have been able to find the SP2200 Prem.Luster 1440.icc and SP2200 Prem.Luster 2880.icc profiles under the Macintosh HD 1/Library/Colorsync/Profiles directory. However, the PK profile is not found by Spotlight. Instead, I seem to have located the PK profile by using the Colorsync utility, doing a repair profile, and then looking at profiles. The PK profile appears to reside under the directory Macintosh HD 1/Library/Printers/EPSON/InkjetPrinter/ICCProfiles/, however, it doesnt exist as a separate .icc profile, instead, it appears to reside inside a file called SP2200.profiles, which does not seem to be openable.
So here are the questions:
1. Which of these profiles were put into place when I installed the printer driver, and which were created when I downloaded and ran the paper profile for Epson Premium Luster paper program?
2. Is there a way for me to extract the SP2200 Premium Luster PK from that SP2200.profiles file and put it in the same location as the other 2 .icc files, or should I not care? Im particularly afraid of losing this profile, since its the one that is working best for me at the moment.
Thanks for any thoughts on this.

Ans to Q1 - Macintosh HD 1/Library/Printers/EPSON/InkjetPrinter/ICCProfiles/ contains installed with driver and Macintosh HD 1/Library/Colorsync/Profiles were installed by the download.
Ans to Q2 - Epson put them inside the "package" to keep them safe. You can access the package contents via the Ctrl+click or right+click context menu item labelled "Show package contents" (see attached screenshot), but I would
strongly urge you not to remove them from the package. You really don't need to care where they are because they're in the safest place. It's when folk try to get smart that the system bites them.

Opinion on Displays

Now that I have my Federal Tax returned and my $600 Tax Bonus check I have enough to get a 30-inch LCD but I'm having a hard time to choose the right one there's so many Brands out their like Apple Cinema Display, Gatway XHD3000, Dell UltraSharp 3008WFP, HP LP3065,Samsung's SyncMaster 305T, Barco LC-3001, Eizo ColorEdge CG301W etc... if any of you have any of these display or planning to buy a 30-inch which brand are you getting and why, I really want the Apple Cinema Display to match my Mac Pro but what's holding me back on buying one is the age of the Cinema Display 4 years is way to long not to be updated but I like it but I hope Apple will shed some light on the Cinema Display at this years WWDC 2008 but Apple Main focus seems to be the iPhone not the Cinema Display but anyways what do you guys think.

I know alot of people that will beg a differ, how about better response time, better contrast ratio, HDMI capadable, redesign enclosure, I was looking at some of other manufactures they have at least 1000:1 contrast ratio some as goes as high as 3000:1 contrast ratio but on a Cinema Display is 700:1 response time 14ms compare to Dell 3008 which is 8 ms, So in my own opinion Apple Cinema Displays needs alot of improvements not saying that Cinema Display is bad, believe me I want a 30-inch Cinema Display more than anything but the lack of up to date technology is forcing me to look else where but I wish Apple will give us any news or time frame in when we can aspect New Cinema Display i'm willing to wait long as it takes if their news that new cinema displays are coming, right now i'm using a 17-inch LCD display on a 3.2GHz 8-Core spent over $6,000 for the Mac Pro and it looks crappy with a tan color display with a $6,000 computer but if any of you can shed some light or news on Cinema display please post here.

Replacing 1900XT with the HD 3870

I've been reading with interest most of the posts on this new video card. I've been having overheating issues with the 1900XT and am sick of the constant cleaning needed to keep it from frying completely. I'm hoping the 3870 does a better job at that. I have two questions that I cannot find specific answers for:
1. I have read conflicting instructions on installing the 3870. Most say to load the drivers off CD first, then reboot, then swap cards. Some say go to ATI website and install newer drivers from there instead. Some say you need to do a "safe reboot" after driver install. Is there a definitive install instruction set anywhere?
2. I have read that OS X will not reinstall with the 8800 card, and that anyone swapping out to that card must save their original card to use in case of an emergency reinstall of OS X. Is that the case with the 3870 as well? Do I need to save my 1900XT?
Thanks for any answers you may have.

I have an early 2007 MacPro 8-core that came from the factory with the ATI 1900XT card. The card was great for everyday needs including high-end Photoshop and video editing. However, it proved to lacking for new games. I started having issues where the card would go into thermal shut down after playing hi-rez video games on the Mac OS or in WinXP on Bootcamp. Also, the fan was very noisy.
I replaced it with the ATI HD 3870 after reading the great reviews on Bare Feats and other blogs. This card does great on games. I've had no issues at all and the fan is much quieter than the 1900XT. I'm running OS X 10.5.6. Now I'm able to play Call of Duty 2 (Mac) and Call of Duty 5 (WinXP on Bootcamp) at the highest resolutions and graphics detail on my Eizo ColorEdge CE240W monitor at 1920 x 1200. The difference is amazing.
Another big plus about the HD 3870 is that it only takes up a single slot whereas the 1900XT took 2 slots.
The upgrade was very worthwhile. I purchased my card from Other World Computing. I think that I paid about $218 and shipping was almost free. Highly recommended, especially if you play video intense games and you want to quiet down your MacPro.
Cheers.
Bud James

Apple 20" CD connects fine to MacBook Pro 2009 via DVI to Mini displayport (adapter) but not to Radeon 5770 (either MDP ports) on MacPro 2008?! Have Eizo CG223 on DVI to 5770. Any ideas?

Here's the setup:
Eizo Coloredge CG223 DVI to DVI on MacPro 5770 interface (ACD works fine on this too, naturally).
Apple Cinema Display 20" have the DVI connector. I have a Mini Displayport to DVI adapter on this, into one of the 5770's MDPs, neither of which seem to work.
Plug the same ACD via DVI (with DVI to MDP adpater) into my MacBook Pro 2009 MDP and it works fine as a second screen.
So what's up with the 5770 MDPs? I've seen online that the card should at least support two displays, either MDPs x2 or MDP and DVI. I've seen there may be an issue with three, not two.
Any ideas please?
Thanks,
Y

Striped down to bare inputs - monitors and keyboard/mouse. Works! Dimerising must have interfered with it. Phew!

Proofing bug with multiple monitors (InDesign & Acrobat on Mac)

Software:
InDesign CS3 5.0.3 and Acrobat Professional 8.1.2 (Mac OS X Leopard 10.5.4)
Both application does not compensate the onscreen colors when moving document windows to another screen.
I have three monitors: Eizo ColorEdge CG220, 30-inch Apple Cinema Display and 17-inch Apple Studio Display.
The 30-inch Apple Cinema Display is my default monitor (with the menubar). But the Eizo ColorEdge is my color-proofing screen. To get correct onscreen colors on the ColorEdge I have to set it as the default monitor in System Settings. That's a hassle. I hope this bug will be fixed.
Photoshop handles this perfectly.

AlFerrari,
My Mac Pro has two graphics card. The 30-inch uses the first one, and the Eizo and 17-inch shares the second card. The graphic cards are identical.
Gernot,
Photoshop refreshes the colors when releasing the mouse button after dragging a window from another screen. Acrobat and InDesign does not.

Color correct monitor

I am looking to buy a good color correct monitor for working with photos and eventually printing them in book. My tech friend recommended Eizo as the best and said that I may not have to get a top of the line one. Does anyone have an opinion about the Eizo ColorEdge CE210W, which is specifically for working with photographs, or the FlexScan S2100, which is a standard model? How about the LaCie 324? I will be printing in Asia and in Japan Standard profile and need a monitor I can trust for color quality, because I can't make proofs here (in Europe).

Hal, Andrew, Web Weaver -
Thanks very much for your quick replies and advice. I was away from my computer
since my initial post so haven't had a chance to follow your advice yet. But I plan tonight.
WW: right, calibration is the correct term :) will look for the ICC file.
Hal, sounds like a worthwhile investment. Thx.
Andrew thanks for the link!
Will let y'all know how it goes.
Cheers
Bill

Eizo colorEdge CG301W Monitor

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