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Three years ago, when I made my first photo tour through the magnificent landscapes of Iceland, I fondly recall an interesting dinner discussion with my fellow photographers. We had just returned to our guest house from a memorable photo shoot. As we shared good wine, food, and laughs, the discussion pleasantly turned to photography. After the seemingly prosaic and obligatory discussion of camera gear, we got around to more interesting topics such as light, travel destinations, and our individual exploits. One pleasant, wise, and well-traveled gentleman from Holland made an interesting comment that has resonated with me ever since. With a blend of delight and amusement, he said, and I paraphrase him:
“It’s amazing how photographers can travel to the same place at the same time and come away with completely different photographs.”
He chuckled as he said that, and his comment drew smiles and nods from the group. Interestingly, there was a pause with confounded looks, and the discussion quickly turned to other topics in photography. In retrospect, what the gentleman from Holland remarked was not only interesting but the truth – a truth whose basis is the epitome of the visualization process. That is to say, unique artistic constructs are molded by different life experiences and likely influenced by the predominant emotion at the time of making the photograph. The same scene, yet different visions, different interpretations, and thus, different photographs. Over the years since that dinner discussion, I have pondered a related question, “How can the same photographer travel to a similar subject and come away with the same photographs?” Not that there is anything inherently wrong with that, yet for me it has been a challenge to photograph the same subject and come away with distinct and more interesting images. For me, the answer to that question became manifest: I had to change my vision.
I have hiked and photographed sand dunes in Southern California multiple times, stretching from the Kelso Dunes in the Mojave National Preserve to the Mesquite Flat Dunes in Death Valley National Park. Yet, there is a stretch of dunes that I had not yet explored, the Algodones Dunes, widely known for all terrain vehicle recreation. Since I was in the mood for exploring a new place, exploring the intersection of light and land, and since these dunes are a short 2.5-3 hour drive from my home base in San Diego, CA, I decided to take a chance. Three months ago, I made a brief 2-day road trip to these dunes to make photographs of the terrain in a way that I had not yet done with enough emotion and creativity. I embarked with a clearly defined goal: to explore light, shadows, and contrast to create a new rendition of a familiar subject.
The Algodones Dunes, also known as the Imperial Sand Dunes, are a vast stretch of dunes in the Sonoran Desert deep in Southeast California, near the California-Arizona and US-Mexico borders. It encompasses the North Algodones Dunes Wilderness, which is a protected natural habitat that is off-limits to recreational vehicles, and the Imperial Sand Dunes Recreational Area. It is the latter that boasts the more impressive stretch of sand dunes. Although I had understood the landscape in the region that I would be entering (Osborne Overlook off Hwy 78) at this particular time of the year (winter-early spring), would undoubtedly be marred with tire tracks from all terrain vehicles, I was not overly concerned about it. My interest was not in photographing a pristine landscape, but more in exploring light, shadows, textures, and patterns. As I surveyed the scene, I immediately became interested in the abstracts that I could potentially make (with or without the tire tracks). Given my artistic imperative at the time, I felt reasonably good about the prospects for making interesting images. The only question in my mind was: at the decisive moment of opening the shutter, what specific subjects would materialize?
Mesquite Flat Dunes
Nikon D800, 100mm f/2.8 E Series
Whenever I embark on a photo shoot, in particular landscapes, I do so possessing one of two mind sets. One, I have a very specific subject of interest, most likely a subject that I have scouted and all that I need is for Mother Nature to provide the light to consummate the visualization process. Alternatively, I set out for a specific quality of light for which I am confident will materialize, yet I do not have a well-defined subject in mind. Then based on the light, I will seek out a subject based on my mood and emotion at the time. For me, both approaches are not mutually exclusive; but whatever photograph I end up making, one of these approaches will have been paramount. For this photo shoot, I took the latter approach. Based on the weather reports, I knew with a high degree of certainty that I would have the desired light in abundance (unidirectional and high contrast under clear skies), but my specific subject would need to materialize at the moment, as if in an epiphany, or serendipitously. Previously, I have written about the former approach taken to the nth degree.
To create the photographs below, I used one of my favorites tools – panchromatic black and while film. With the exception of one photograph, I used a 35mm camera, which is one of my preferred tools under conditions where light is changing rapidly, where I desire to change locations and compositions quickly, and where I desire to take multiple exposures in a short amount of time. It goes without saying that for the black and white landscape photographer, it is all about *contrast*, pure and simple. To yield the contrast that I visualized, I used a classic tool in black and white photography, the deep red filter. For more background on the red filter and the technical rationale, you can read here and here. With the exception of one photograph below, I used an exposure strategy that would yield strong highlights balanced with deep shadows to create contrast and depth and impart a sense of intrigue and mystery to the scene. For all of these photographs, I used a long lens to frame the perspective.
It would be worthwhile to pause briefly to explain the relationship between the directionality of light and texture, although a dedicated article would surely be merited down the road. In general, whether the artist is a photographer, a painter, or a sketch artist, textures are best revealed by two directions of incident light: lighting from the side and back lighting. For the landscape photographer, light that sweeps across the landscape from the side has been a cherished tool for revealing textures and lending shape and dimensionality to the scene, although backlighting can accomplish the same feat. A good on-line resource that nicely illustrates the relationships between the directionality of light and texture can be found here with an excellent book written by the same author that I highly recommend.
For this first photograph at mid-morning, I visualized a blend of coarse and smooth textures. As the sun was rising higher, the shapes and deep shadows gradually materialized. In the midst of the depressions and deep shadows in the dunes, my mind saw the nose of a human face in the bottom of the frame. It was uncanny. With this emotion gripping my consciousness at that moment in time, I felt compelled to open the shutter.
Nikon F6, Nikkor 70-200mm f/4 G ED VR, Adox CMS 20 II
For this next photograph (my first exposure of the morning), the sun was starting to clear the Chocolate Mountains and bathe the landscape. As I previously discussed about this scene here, I was feeling an emotion of scarred beauty, an emotion of mystery, and that of an untold story. I again “saw” and “felt” the contours of a human face, and as the contrast was building up, I was “feeling it”. The lighting, which was highly unidirectional and contrasty, was sweeping across the subject at a nearly 90 degree angle, which casted long and deep shadows. At that decisive moment, the light, shadows, and emotion were aligned, and I again felt compelled to open the shutter. In retrospect, the wait to see this particular negative on the light table was immensely gratifying. It was almost like re-living a love affair with light and then re-uniting with your love days later . . . Sighh . . . It was pretty awesome. 
Nikon F6, Nikkor 70-200mm f/4 G ED VR, Adox CMS 20 II
As the sun was rising higher, I was still inspired with a human emotion embedded within the landscape, and I just rolled with it . . . As I surveyed the scene looking for my next subject, my eyes caught another set of depressions, curves, and contours. At that moment, my mind interpreted the contours of a human torso. In the midst of the light display, I saw an abdomen, a navel, a waistline, and hips . . . She was beautiful! It was another uncanny sight, and it felt right for making another exposure. The quality and directionality of the light – sweeping from above and to the side – was conducive to creating shape and 3-dimensionality and revealing fine textures on the sand. Although I was shooting directly into the path of the sun, the reduced contrast from flare did not deter me, as I knew what I was seeing in my mind could not be witnessed from another direction of light.
Nikon F6, Nikkor 70-200mm f/4 G ED VR, Adox CMS 20 II
Since I’ve been photographing sand dunes (and beaches) over the last past four years, I have found that potentially interesting compositions may actually lie not far ahead but literally underneath your feet. Again, if the incident sunlight is from the side or in front of you, with careful study through a composing card, the potential for the mind to see patterns and abstracts can be alluring, as the following two photographs illustrate.
Nikon F6, Nikkor 70-200mm f/4 G ED VR, Adox CMS 20 II
Nikon F6, Nikkor 70-200mm f/4 G ED VR, Adox CMS 20 II
In contrast to proximity and abstracts, again with careful study of the landscape and the light through the composing card and a long lens, even a distant scene may declare itself to be a delightful interplay of light, shadows and texture conveyed with a sense of minimalism.
Nikon F6, Nikkor 70-200mm f/4 G ED VR, Adox CMS 20 II
What I enjoy about long deep shadows in a landscape is that they have the potential to confer different emotions and physical interpretations of a scene. From an emotional perspective, as I have mentioned deep shadows can provoke a mood of intrigue, mystery, drama, and a sense of abstraction. From a physical perspective, they can lend shape, depth, and 3-dimensionality to the scene. Consider the next two photographs.
Nikon F6, Nikkor 70-200mm f/4 G ED VR, Adox CMS II
Nikon F6, Nikkor 70-200mm f/4 G ED VR, Kodak T-Max 100
The first illustrates how the deep shadows lend a sense of depth and an element of mystery to the scene, whereas the second photograph – taken later in the morning when the sun was higher in the sky – reveals greatly diminished the shadows, which unfortunately impart a bland mood as well as a flattened perception of depth. The same subject . . . The same perspective . . . Different lighting . . . Two starkly different photographs, emotionally and physically.
Although a view camera is not my first tool of choice under rapidly changing lighting, I brought my 4×5 with me because I was both stubborn and felt that I would easily find an appropriate subject for a couple of exposures. For this next photo, which was the last photo I made on my trip, I had scouted the dunes north of Hwy 87 (the area that is restricted from all terrain vehicles) and found a stretch of low-lying dunes where the light from the setting sun would strike it at low angle and potentially reveal more interesting textures and deep shadows. At sunset, the light was creating lovely tonality across the sand and becoming more enticing as the minutes passed. This was another shot where “I was feeling it”. After honing my composition with my card and adjusting it on the ground glass, the sharp curved line conveyed an emotion of two separate worlds . . .
Ikeda Anba 4×5, Nikkor-M 300mm f/9, Ilford Delta 100
Since my goal with this particular photograph was to capture a broad range of tones and preserve shadow detail, I deliberately did not use a contrast filter (e.g., red, orange, yellow, or green), since such a filter would have blocked blue light and reduced shadow detail. I did, however, use a UV filter to block UV light from exposing the film. Briefly, from a technical standpoint, I spot metered the shadows in the middle right of the frame to preserve those on Zone II, then extended the development of film by N+1 to expand the high values, and thus the overall contrast range. This was my personal favorite exposure of the trip: a pleasant tonal range, replete with textures, and still conveyed with a sense of mystery yet with less drama than in the previous images.
In a recent conversation with Howard Bond, with whom I have had the privilege to periodically share thoughts on art, photography, and history, Mr. Bond remarked, “It’s wonderful to see that there is a lot going on in your head when you are photographing.” That comment resonates with me as much as the comment from the gentleman from Holland, for similar reasons. The process of modifying a vision, changing an established way of interpreting a scene, or thinking outside of the box is not an easy one for a photographer and artist. This is the most challenging aspect in the creative process. For this photo shoot, following weeks of contemplation and refining a specific goal and vision coupled with the appropriate light, I was able to create a set of photographs that were distinct in meaning and emotion from my earlier photographs of a similar subject. For the contemplative photographer, the visualization process starts with feeling it and believing in it. The light and the skill of the photographer will take care of the rest.
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In the past, hardware calibration feature was limited to premium wide-gamut models from companies like NEC or Eizo. Those models offer wide gamut, great uniformity and advanced calibration features…but at a fairly high price. Affordable wide gamut solutions with hardware calibration started in 2013 with Dell and after that other companies like LG, BenQ and Samsung begun to offer “similar” products with more or less success. It is important to point out that LG and Samsung wide gamut models cannot be properly calibrated internally with the i1Display Pro colorimeter using their software and the same applies to some BenQ models like SW2700PT and its Palette Master Elements software. The main issue with those models is that they bundle an outdated X-Rite SDK (Software Development Kit) in their software without GB-LED support, which is the current main* (see the footnote at the end of the article below) LED wide gamut backlight technology. Hence, their software won’t get accurate readings, which in turn leads to inaccurate calibration. The BenQ PG2401PT and its Palette Master software, on the other hand, come with proper GB-LED support.
These low-budget wide gamut monitors were an interesting option for hobbyists and professionals, who cannot or do not want to spend more than $1,500 on a fully-featured premium wide gamut monitor from NEC or Eizo. The release of Eizo CS240 in late 2014 lowered that budget gap, since it is a near fully-featured wide gamut monitor for $850-900 USD and even today remains as one if the most sensible and affordable choices.
Since 2013 Dell has released several GB-LED models with hardware calibration. Here is a brief overview of their features:
And below are their issues:
This is the sad tale of affordable wide gamut monitors, a promise that could be, but wasn’t. Some of them truly offer value for their price and still can be purchased today if they are sold for a fair price: U2413, U2713H or UP2414Q…and even UP2516D / UP2716D but it’s highly recommended to check color uniformity (ArgyllCMS/DisplayCAL).
When looking at its competitors in its price range, the sad tale becomes a tragedy:
Given these facts, I would stay away from any of these Dell models with high prices since they are not worth it: the risk of bad uniformity units is too high for the bigger screens and software for hardware calibration has some issues as we will see in this article. I would stay further away from LG or BenQ models since their cheap models have worse uniformity issues than Dells (at least worse than 2013 models) and their software is unable to measure them properly with a colorimeter. Crippled contrast after you enable uniformity compensation in Samsung’s 32” 4K wide gamut is not appealing for such an expensive monitor…you can get a fully featured 27” QHD wide gamut from NEC for that price and NEC offers 5-step uniformity compensation trade-off between max contrast and max uniformity.
This does not mean there is no hope for hobbyists or professionals with limited budgets. As I have pointed out before, models like U2413, U2713H or UP2414Q seem to be a sensible choice… but only if found for a fair (I mean low) price for their value, since they are pretty old models. Customers need to be aware of these Dell limitations before buying. This is the point of this article: to learn, evaluate and if possible fix their flaws.
Eizo CS240 (24” 1920×1200, like U2413) has an affordable price too and it’s very likely that it will show better color uniformity than Dell. It offers true uniformity compensation feature but it’s only an ON/OFF feature, there is no trad-eoff for contrast-uniformity. Its price is about the price of a 27” QHD GB-LED Dell like UP2716D, so this Eizo is another sensible choice for limited budgets.
For better uniformity or more calibration and color space emulation features, save money for middle-high (Multisync PA) or high end (Spectraview PA) GB-LED models from NEC since they are cheaper than Eizo counterparts. NEC’s Spectraview PAs offer the same quality as ColorEdge CG Eizos and the cheaper Multisync PA models offer better features than Eizo CX series.
After GB-LED family presentation, let’s see what these Dell owners can get out of their monitors and DUCCS software. Since v1.0.x versions were useless, this is a guide to the 1.5.x family. There are two major “stable” 1.5.x versions:
-1.5.3. which works with 2014 generation or older models. This is the recommended version for that monitors unless you notice bugs.
-1.5.11 which should work with all of these Dells but offer less functionality. 2015 or 2016 models will need that version.
User interface and almost every option are common to all 1.5.x versions, so unless stated otherwise this guide works with all of them. The following instructions are for the Windows version of DUCCS, OSX version should behave in a similar way unless bugs or Apple hardware limitations or incompatibilities are found. Ask Apple support team if DUCCS does not work for you…you are on your own since it seems that there is no official support of Dell monitors with Apple proprietary hardware configurations.
DUCCS included on your monitor driver CD may be outdated. They can be downloaded from Dell or Xrite websites. Below are the links to Windows versions (Windows 7 or newer is required):
DUCCS 1.5.3 (don’t worry about the model name on the page, it works with all 2014 and older models):
DUCCS 1.5.11 (for newer Dells)
Installation will need administration privileges; it will also install i1DisplayPro SDK, X-rite Services and .NET Runtime. After installation, which may require a reboot, you may want to check Windows Update for .NET Runtime security updates. Al the end of the process you should have a desktop shortcut to DUCCS. Before running DUCCS, plug in the i1Display Pro colorimeter. Windows may want to install is as a HID device (like a mouse, keyboard…), let it do the job.
The newer 2016 Dell UltraSharp models may need a firmware update (at your own risk).
While newer versions of DUCCS may work with a dual monitor setup, it is strongly recommended that there is only one GB-LED Dell connected to your computer when running DUCCS (or even one monitor at all). Calibrate each display separately.
Now run DUCCS. If you are running 1.5.3 and have Internet access, it will prompt you to update to 1.5.11. Do not update unless you know what you are doing. After it starts you should see DUCCS main screen which looks like X-Rite’s i1Profiler for those familiar with the program:
On the middle of the screen you will see a “User Mode” selection. Go ahead and pick the “Advanced” option so that you can see all the available calibration options.
Next, click “Display->Profiling” to proceed with LUT3D Calibration. The next screen will show your Dell monitor with its serial number and a set of presets for calibration target. If this screen does not display and you see the usual i1Profiler calibration target with white point, luminance and contrast, then your monitor is not recognized by DUCCS as a GB-LED Dell with hardware calibration. Unfortunately, it is a common issue for 2013 Dells under OSX. Here is how the screen should look like:
A brief explanation of the presets:
You may have noticed that “sRGB” and “AdobeRGB” presets are just particular configurations of “Custom xy” and it’s true. You only need to know CIE xy color coordinates for R, G and B of sRGB and AdobeRGB (available on Wikipedia for example) in order to manually set an AdobeRGB calibration target without presets. You can obtain your monitor’s full native gamut R,G and B locations in CIE xy color coordinates from:
Basic configuration and use of ArgyllCMS and DispcalGUI (DisplayCAL from v3.1 onwards) will be covered on the next article. For each preset you can configure target luminance between some common preset values of a value of your choice in cd/m2.
DCCS does not allow custom contrast value, it will aim to the best contrast that fit its needs. If you need a fixed contrast value (paper) you cannot do it with DCCS, you will need GPU LUT calibration and tweak monitor’s brightness and contrast controls under “Custom Color” OSD mode.
After choosing your calibration target, click next. Now you are prompted to choose a profile configuration, the way monitor behavior will be stored in a ICC/ICM file after calibration:
Here is a short explanation of the options:
After choosing profiling options, click next.
Now you are prompted to choose a number of color patches for profiling. These patches are not for calibration, just to profile your monitor. With DUCCS you cannot choose patch set for calibration and this is one of the main reasons of its inaccuracy. The bigger the patch set, the more information DUCCS can use to compute display’s profile in an accurate way. The simple nature of matrix profiles makes them suitable for a low number of color patches.
Click next.
Now you must choose where to store calibration: Calibration 1 (CAL1) or Calibration 2 (CAL2):
If this screen does not show up, you are not able to hardware-calibrate your Dell because of some software or hardware issue. If an error shows with information about “no USB cable plugged from monitor to computer”, check it, but maybe monitor’s USB hub drivers are not properly installed, or maybe it’s just another DUCCS bug. Sadly, if this happens, you are on your own. You can report this problem to Dell, but it’s very doubtful that the folks from support will be able to help you. At this DUCCS step, the software tries to communicate with your monitor in two ways (DDC/CI and USB) to read the serial number. If any of these operations fail, this error happens.
If there are no errors, proceed by clicking “Start Measurement”.
At this point of calibration, DUCCS will go fullscreen and will prompt you to uncover the i1Display Pro lens and place the device on the center of screen. When done, click next.
Now, the actual calibration starts. User has no control during this process so just sit and wait:
At this point CAL1 or CAL2 are calibrated to our desired target, but you need an ICC profile too because color managed applications need to now actual monitor behavior to manage color properly. So DUCCS starts a series of patch measurements (chosen in profile configuration step) and stores that information in computer’s memory.
After all patch measurements are finished, DUCCS will ask you to place close the i1Display Pro lens. Click next after you are done. Then DUCCS goes back to windowed mode. Click next.
Now you are prompted to choose a profile name. Write a meaningful name like “DELL U2413 sRGB CAL1.icm”, do not overwrite the generic “U2413.icm” profile. Click on “Create and save profile”, which will transform profiling measurements to a profile and write it to an ICM file, stored in your Windows OS profile folder. It will also set it as a “Default Profile” for your Display in the “Color Management” configuration of Windows Control Panel. That means that all color managed applications will work like if that profile accurately describes your monitor, but this won’t be true if you either factory-reset the monitor / reset that CAL1/CAL2 slot, or change OSD mode from your CAL1/CAL2 to other mode.
Now you can repeat the process for the other CAL1/CAL2 slot or exit DUCCS since all other application options are useless: uniformity, validation…not reliable, not accurate, not to be trusted. We will deal with validation and uniformity measures in next article.
Since calibration is stored inside the monitor, you can take DUCCS’ ICM files with its behavior to another computer or OS (Linux, OSX, another computer with Windows), then install one of those profiles as the default profile for your display. Profiles are stored in “C:WINDOWSsystem32spooldriverscolor” folder in Windows OS. You need to know that OSD brightness/contrast values for CAL1 and CAL2 are independent from the other OSD modes, but they may be independent too for each DVI/DP/HDMI input (may vary with model/firmware revision). If you calibrate your Dell monitor on a desktop computer connected with a DVI cable to your monitor and you want to use that calibration with a laptop connected with HDMI to your monitor, then you may need to copy OSD contrast & brightness value from CAL1/CAL2 modes in DVI input to CAL1/CAL2 brightness and contrast controls in HDMI input. CAL1 and CAL2 computed LUT3D will remain unchanged between monitor inputs, it’s just contrast and brightness values what you may need to copy to the other inputs. The same applies to RGB gain and offset controls for “Custom color” OSD mode (for GPU calibration), each DVI/HDMI/DP input may need its own configuration.
If you go to Windows Control panel, and double click on “Color Management” you can change default profiles for each of your displays. On Windows 10, visit “System”, click “Advanced Display Settings” under “Display”, then click “Display adapter properties” under “Related settings”. When a new window comes up, click on the “Color Management” tab, then “Color Management…” button to see the following screen:
Under the “Devices” tab there is a Device drop-down box. Make sure that your Dell display is selected. Don’t forget to check “Use my settings for this device”. Below that you will find a list of profiles associated to that display. You can add and remove profiles. You must select as “default” profile the profile that matches your current monitor configuration before using color-managed applications. For example for CAL2 calibrated to AdobeRGB preset in a U2413 with DUCCS, there must be a profile with your desired name, “DELL U2413 AdobeRGB CAL2” ICM file. Make sure that this profile is set to “default” while in CAL2 OSD mode.
Do not change anything in the “Advanced options” tab – leave it as is. The only change that “may” make sense for some configurations is to enable Windows LUT loader for GPU. To enable it, click on the bottom button “Change system defaults” (administrator rights are needed). It will open another “Color management” configuration. Go to advanced tab and enable “Use Windows display calibration”. Then close all Color management windows.
With this LUT loader enabled, every time you set as “default” a display profile, Windows will load that profile’s calibration curves in graphics card LUT. DUCCS profiles have a linear LUT (no calibration), so this configuration is not needed, but if you use i1Profiler or ArgyllCMS profiles mixed with DUCCS ones, then it may be useful. Windows LUT loader is less accurate than ArgyllCMS LUT loader. It will load a low-resolution version of calibration curves (without “decimal values” we talk about in my first article) which may lead to banding artifacts. This does not matter at all for DUCCS profiles, they have a linear LUT calibration embedded. Unless for some strange reason you do not want to use 3rd party LUT loaders, I would avoid MS Windows LUT loader and use ArgyllCMS/DisplayCAL. DisplayCAL 3.1.x comes with an autoloader that notices changes in “default profile” (actually it seems to be a polling mechanism) for each display in your OS, and IMHO it’s the way to go.
Keep in mind that if you change the preset mode on the monitor to a different one (say from sRGB to AdobeRGB) and forget to change it in the Color management settings above, then fire up Photoshop, all colors might be wrong. Your display (while in that OSD mode) has a close to AdobeRGB behavior, but Photoshop will do color management as if it was close to sRGB. Before you open a color-managed application, there must be an accurate profile for your current OSD mode set as “default” for your display, as shown above. This is not a Dell limitation, this is true for every monitor and every operating system… unless a color managed application has its own monitor profile configuration. Because of this, always make sure to select the same preset (CAL1 or CAL2) as the default Color Management profile in your settings. If you change one, don’t forget to change the other. It may be possible to do this change sequence automatically with a third party application like Dell Display Manager (after tweaking it, out of scope of this guide). The same happens with Eizo/NEC monitors and their OSD configuration programs.
*NOTE: X-rite packed a GB-LED backlight SPD sample under “RG_Phosphor” EDR file – it covers AdobeRGB 99% LED backlight models. That GB-LED SPD is not exactly the same LED backlight for iMac 5K DCI-P3 (smaller gamut) or super high-end Eizo CG318-4k (bigger gamut); there is a noticeable difference in red channel output SPD between GB-LED backlight and those two models. ArgyllCMS with SPD sample data from those two displays (a “CCSS” file with SPD data) can properly measure those displays with an i1Display Pro, so do not worry about it.
This article has been submitted by a guest poster who wanted to remain anonymous. He goes by “Color Consultant” nickname in articles and forums at Photography Life.
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