ColorNews Issue #13

Color Management Myths 11-15

Welcome to ColorNews, a periodic update on things related to Color Management. We are striving for a regular consistent newsletter of high value to our customers. Please let us know what your interests are so we can address these concerns in our coming issues.


C H R O M i X C O L O R N E W S

Issue #13
June 15th, 2004


There is a lot going on this month, so we would like to draw particular attention to these items:

** The transition of ProfileCity into CHROMiX is continuing to prove beneficial to customers. If you're an OEM Manufacturer or Distributor (Ink, Paper, Printer, etc.), be sure to read the section devoted to Licensing below.

** ProfileMaker Pro version 5 is a MAJOR release and has a lot of far-reaching ramifications (end-user benefits, the competitive marketplace , GretagMacbeth's continuing health and success, and more). Read the special section below to get up to speed on ProfileMaker v5.

** If you're considering an Upgrade to ProfileMaker v5, don't miss the 20% EXTRA special savings, but ONLY until June 30. See advertisement details below.

** It's almost over! The very popular FREE Eye-One Display promotion ends June 30, 2004. See details below.

** 'Five more Color Management Myths', an article written by CHROMiX President Steve Upton that you'll want to read.


Table of Contents


1. CHROMiX News
2. Color, Product & Industry News
3. DRUPA Wrap-up Highlights
4. SPECIAL Section: ProfileMaker v5
5. Tech Notes: Achromatopsia?
5. Shows and Events
6. ColorFAQs - this month's FAQ is 'Five more Color Management Myths'
7. CHROMiX USED items for sale
8. ColorNews Administration (feedback, subscriptions, etc.)




Since our last ColorNews issue #12 (April 26, 2004) many things have happened at CHROMiX that are worth mentioning:

CHROMiX welcomes the addition of Anne Taylor to our group of partner consultants and trainers. Anne has an extensive history of production, training and technical support in high-end prepress. She has worked for a number of high-quality prepress groups, consulted to many well-known imaging companies and most recently worked with Corbis. At Corbis Anne set file submission standards, color management workflows, and trained and supported internal personnel and external photographers and customers in digital imaging. We are excited and honored to have someone of Anne's capability on our team and are already applying her talents to our customers!

As part of working with Anne Taylor, CHROMiX is now offering WebEx-based training to our customers world-wide! Our first course offering is "Color Management in Photoshop" and we will be offering courses in other areas in the future. WebEx allows us to bring you the expertise of people like Anne Taylor, Steve Upton and others at a fraction of the cost of having them come to you. If you are interested in this training, please contact Rick in sales for more details.
sales//chromix//com or 866-CHROMiX x1 or 206-985-6837 x1

Adobe has named and featured CHROMiX ColorThink as the primary toolset for organizing, modifying and visualizing profiles in their May 2004 Color Management issue of 'ReadMeNow', a periodic tech newsletter for Adobe Solutions Network Service Providers (ASN's). For more information on ASN, go to asnprovider//adobe//com

Apple has listed CHROMiX ColorValet Profiling Service in their latest ColorSync June 2004 white paper, called 'Color Management in Mac OS X Panther'. You can download the FREE 24-page pdf from the ColorSync website at

Apple has sponsored and published a new book in the Apple Pro Training Series called 'Color Management in OS X: A Practical Approach' by Joshua Weisburg. CHROMiX ColorValet Profiling service is featured prominently throughout the book. Even better, our ColorValet Print Profiling Kit is available on the CD that is included. Although the book is not available yet, you can pre-order at for $30.59.

CHROMiX is taking the integration of ICS's ProfileCity custom profiling operations to new levels. With recent efficiency increases, our service turn-around time is dramatically improving. Our obsession for high quality profiles can now be translated into quicker turn-arounds for you. Give us a try and find that a great profile delivered quickly makes all the difference in your color world!

If you're an organization, association, manufacturer or large end user, give us a call to discuss how we can customize a profiling program to meet your company's and your customers' needs.
Call Rick Hatmaker at (866) CHROMiX or (866) 247-6649 extension 7.

Success breeds success! Color Management adoption is growing at an astounding rate these days. However, it is still only a small fraction of its huge potential. Sign up and Partner with CHROMiX to take advantage of this growth potential and also create additional revenues, or offer Color Management products and services to your customers.
If you're not already in the Partner Program, get on board now to enhance your revenues with this opportunity. Simply go to
link to find out how to 'get with the program', or check out Steve Upton's article focusing on the Partner Program in ColorNews issue #9 at

** Steve Upton will be speaking at the following events:

July 14, 2004, 6PM - 7PM Macworld Boston. Steve will lead a Q&A discussions group at the Birds of a Feather Color Management session. At this event, current users of Color Management may pose questions & open discussions about current color management trends and new technologies and products. One topic will be Apple's upcoming ColorSync certification program for consultants and color professionals. If you're a current user of Color Management and at MacWorld Boston, don't miss this one:

July 15, 2004, 2PM - 3:15PM Macworld Boston. Steve will be speaking at MACWORLD Boston, MA. Steve will provide a complete Color Management overview, with focus on the concept and purpose of ColorSync profiles, device gamut's, display calibration, printer profiling and how to fit it all together in Adobe Photoshop. He will also cover the evolution of ColorSync in OS X. This is a great session for photographers, designers, art directors, printers, or anyone else trying to get a handle on their digital imaging system.


Color, Product & Industry News


GretagMacbeth has finally released and is shipping Photostudio Pro and most modules of ProfileMaker version 5 profiling and color management software. ProfileMaker Publish Pro should ship this week, June 14th. Having beta tested ProfileMaker for GretagMacbeth, CHROMiX is excited about the new features, including custom target generation, enhanced multi-color profile and a significant upgrade to the camera profiling module. See the special ProfileMaker v5 section below for more details.

GretagMacbeth completely re-designed and enhanced their main website. The new website includes more detail on on all products and technology - including Munsell products, online products, Sequel technology and professional services. It also includes a Color Management Solutions finder, an online Support Center, updated information about the company, a color library with general color information, and more.

EFI announced Best Designer Edition 4.0, an update of its desktop color proofing software. Scheduled for release in June, the update will feature a new Mac OS X and Windows operating platform for greater flexibility in a variety of proofing environments, support for HP's CMYKplus standard for color management, compatibility with JDF 1.2 (an open standard for electronic job ticketing), plus support for the Epson Stylus Pro 4000, the HP Designjet 30 and 130, and more than 30 other inkjet printers.

Good news ...
May Magazine Ad Revenue +12.8%, Pages +4.8%. Total magazine rate-card-reported advertising revenue for the month of May 2004 increased +12.8%, compared to May of last year, closing at $1,894,854,601, according to Publishers Information Bureau. For more on the story go to:

More good news ...
The National Association for Printing Leadership (NAPL) has confirmed that the printing industry continues to gain strength, according to the latest economic indicators. Sales are up, and a host of other indicators, including work-on-hand and confidence, show the upturn is continuing. Economists caution, however, that it's important for printers to keep the good news in perspective. For more on the story, go to:

DRUPA Wrap-up Highlights

At Drupa, GretagMacbeth announced:
++ New DensiEye 700 densitometer from GretagMacbeth delivers unmatched speed, responsiveness and accuracy for the newspaper, magazine and commercial pressrooms.

++ Expanded iCPlate II family of plate readers from GretagMacbeth delivers fast, easy-to-use, and accurate plate reading QA for conventional and CtP plates -- New entry-level, cost-effective iCPlate II Basic joins original iCPlate II Advanced model to round out family of solutions that include a high resolution, auto-calibrating plate reading device, a test target, software to transfer measurement values to any Windows application and new optional plate quality control software.

... and for many of our customers, our favorite 'future' GretagMacbeth product teaser:

++ GretagMacbeth announces the Eye-One iO at Drupa 2004 - - upgrading the award-winning Eye-One family to affordable scanning automation. This scanning chart reader, with its revolutionary new design, brings hands-free, ease-of-use, and affordable automation to Eye-One Pro.
The Eye-One "iO" scanning table features a revolutionary new design in which the Eye-One Pro is mounted in a holder that moves like a "SCARA-type" robot by means of two pivot points to capture color information from any test chart. The iO gives users a choice of two reflective scanning options: white backing for use with color management applications; or black backing as an option to meet ISO specifications. This device also comes with an optional transparent base to measure various transparent materials. iO further enables characterization of thick to very thick substrates, such as the ones used in textile printing or in special printing applications like ceramics or decor printing. The current large installed base of Eye-One owners will be able to add the new scanning table to their existing Eye-One configuration. In addition to being sold as a separate accessory, it will also be available in a bundled package for new users.
At this point the Eye-One iO will be compatible with GretagMacbeth's Eye-One Match or ProfileMaker color management software. No mention of MeasureTool or 3rd party software compatibility.
GretagMacbeth expects to have the new Eye-One iO available for shipment later this year. Pricing and configuration bundles will be announced at that time.

At Drupa, X-Rite announced three new products:
Pulse ColorElite - Similar to the Eye-One (in print reading mode) the Pulse is a rapid strip-reading instrument. It locks into its scanning ruler, which may increase accuracy and reduce errors. Also, unlike the Eye-One, the Pulse has on-board memory and can read multiple targets while untethered, uploading the readings when reconnected to the computer.

DTP-70 - "Slingshot" - A DTP-41 on steroids? Perhaps a closer comparison would be to GretagMacbeth's ICColor. Feed a strip-style target into the Slingshot and it will measure the entire target (x,y). The Slingshot is probably the fastest instrument of its type on the market, reading an IT8 target in less than 3 minutes. OK, it's not on the market yet but it's on its way.

Intellitrax - An auto-scanning press-side color scanner and reporting system that includes the instrument and touch-screen-based computer system. Features include the ability to read an entire color bar in less than 15 seconds, X-Rite's "look ahead" technology that helps it find and navigate color bars, and the instant display of data while readings are still underway.

Nifty flash intro with pictures:

Drupa tends to bring products out of the lab and onto the trade show floor earlier than most shows so we are still researching these products and their actual delivery dates are unknown at this time. We'll keep up on them for you and let you know when they make it to market.


SPECIAL Section: ProfileMaker v5


New Features and Differentiations:
* v4 ICC Compliant in Publish Pro - will downward support v2 ICC profiles.
* Modules are available as software only or with $200 dongle for existing customer convenience.
* PM5 Output Module - Added the MultiColor functionality. This was an $1800 separate module. Completely customizable RGB, CMYK and Hexachrome / CMYK+Red+Blue / CMYK+Red+Green output profile generation. Includes MeasureTool Complete. See prices with & without dongle below.
* PM5 Publish Pro - Includes new process control functions that enable working with gradation curves, dot gain and optical density measurements. Publish also includes better gamut mapping capabilities and the ability to generate custom test charts optimized for individual output devices.
* MultiColor Module - Not available as a separate module. Included in all Complete packages listed below. Includes more advanced features like n-color separations and output in up to 10 channels.
* Editor - Provides ability to edit all types of profiles, including multi-color, even in device channels;
ICC profile post-linearization tool; spot color reproducibility check; and 2D/3D gamut view.
* New Device Link Module - Available as a separate module or in the upcoming PM5 Packaging Pro. Allows full ICC RGB/CMYK workflow device linking. Features include a Preserve Black function, Clean Black and Clean Primary functions. Can also automatically adopt ink coverages and save ink definitions by redefining separation data without losing overall characteristics of a specific device.
* MeasureTool Basic - available for free or in Photostudio, can measure & read with GretagMacbeth instruments only.
* MeasureTool Complete - Enhanced for reading and evaluating Density, Dot Gain and Color. Publish Pro includes full version or available as separate module.
* Input Module - Not available any more. Renamed as the Scanner Module but doesn't include IT8 targets.
* IT8 targets - now sold separately.
* Digital Camera Module - everything has been totally redesigned from the ground up, the target is now Semi-Gloss, new software, new procedure.
* Upgrades from v4 to v5 will use your existing dongle and a utility to upgrade your dongle. The upgrade is very straightforward. Really.
* PM3 to PM4 Upgrades are no longer sold or supported by GretagMacbeth. A 10% discount for PMv5 product is available to PMv3 owners.
* The new Digital ColorChecker SG camera profiling target is available separately as well.

ProfileMaker v5 Upgrades
* Right now, the only upgrade path for users of PMv4 is to PMv5 Publish Pro and until June 30 an extra 20% discount is being offered as incentive for owners of previous versions to upgrade.
* If you bought ProfileMaker Pro Complete v4 AFTER January 1, 2004, you are eligible for a free upgrade.
* An upgrade from version 3 to version 4 is no longer available. However, GretagMacbeth will discount the purchase of any complete ProfileMaker package (above) by 10

PM v5 Licensing Issues
In the last few days there has been significant interest in several user forums regarding ProfileMaker v5 Licensing and, specifically, adverse differences in wording of the End Users License and Agreement. Thomas Kunz, the Market Manager for PrePress, Creative, Photo at GretagMacbeth responded very positively with the following assurance:
"We did rework the wording regarding the profile usage towards clarity and towards consistency. Please find the actual version on in the document library for the ProfileMaker Products or use this direct link:
This License version is valid for all currently shipping ProfileMaker products. It will be translated into the different languages and implemented in the installers. Please take the posted license agreement as official version for your product in use."

Speaking of Licensing...A Legal Note:

If you are distributing profiles that were created using a commercially available profiling software (e.g.: GretagMacbeth, Monaco, Fuji, Kodak, ColorVision, ColorBlind, ICS, PraxiSoft or others) and they are for "OEM" purposes (i.e.: Ink, Paper, Printer manufacturers, RIP manufacturers, distributors, etc.), be aware that you are probably violating the software license agreement with that software manufacturer if you have not negotiated and paid for additional licensing. People may not be aware of the profiling software restrictions that they acknowledged when registering their software. However it is illegal to make and sell profiles made from all software for OEM's use. Most profiling software companies have OEM licensing programs available. The downside is that these are rather steep, and usually only the largest of companies can afford to play.

Except CHROMiX. We have negotiated and are authorized to license profiles to OEM's, thankfully, because of our unrestricted usage and access to ICS profiling software. Known as world class profiling software, this software was used to make profiles for Profile City. CHROMiX now has the ability to offer the most competitive OEM license arrangements anywhere and you don't need to be a large company to take advantage of these licenses.

If you're an OEM who needs profiles for your products (Ink, Paper, Printer Manufacturer, RIP Manufacturer, Distributor or other), please feel free to contact us to discuss how we can help you and your profile needs. Find out why CHROMiX is regarded as the Premier Profiling Service in the world because of our obsession for the highest quality standards in our profiles. For more information or to discuss your color management or profiling needs, call:
Rick Hatmaker, Toll free at (866) CHROMiX or (866) 247-6649 extension 7.




Achromatopsia (Color Blindness)
We found a fascinating student research paper on Achromatopsia (Total Color Blindness) written by Elaine de Castro, a student at Bryn Mawr College. Worth a read to get up to speed on the subject:

CHROMiX ColorNews articles are a useful resource for technical information. In every issue are Tech Notes (above) and an article (below FAQ) that usually covers a technical topic of merit to users. ColorNews articles are archived and available for your FREE access at



June 17 - 19, 2004 Gutenberg Festival. Long Beach Convention Center, CA. Now in its 32nd year, this annual Southern California event is the hot spot for graphic design, digital prepress, printing, publishing converting and digital equipment professionals. Over 200 exhibitors will be on hand to display products in over 60,000 net sq feet.

July 12 - 15, MacWorld, Boston, MA. Everything for the Mac devoted. East Coast style. Steve Upton will be speaking and hosting a Birds-of-a-Feather session.

July 15 - 17, InDesign 2004, Boston, MA. Get personal with the world's premier experts, authors, trainers, and third party developers for 3 days of unparalleled Adobe InDesign training, tips, techniques and networking.

August 16-19 , Seybold San Francisco, 'From Concept to Reality', Moscone West, San Francisco, CA.

October 10 - 13, 2004 GRAPH EXPO and CONVERTING EXPO at McCormick Place
South, Chicago, IL. This is the largest, most comprehensive prepress, printing, converting and digital equipment trade show and conference in the Americas.

October 24 28, 2004, XPLOR 2004, 25th Global Electronic Document Systems Conference & Exhibition at Dallas Convention Center, Dallas, TX. link

December 5-7, 2004, the GATF 6th Annual Color Management Conference has been announced and will be held at the Hilton Pointe Mountain Tapatio Cliffs Resort. Steve Upton has been asked to serve on the board of directors this year. More details to come.

January 10 - 14, MacWorld San Francisco, CA. Everything for the Mac devoted. West Coast style.

March 17-19, 2005 Graphic Arts 2005. Charlotte Convention Center, NC. This recent trade show and conference brought in thousands of industry professionals from the Southern USA. View the many highlights of the 2003 show edition and sign up to be reminded of the next show in Charlotte, NC. link

September 9-15, 2005 PRINT '05 at McCormick Place Complex, Chicago, IL Because of its mammoth size and international presence, PRINT occurs only every four years and will take the place of GRAPH EXPO and CONVERTING EXPO in 2005.


ColorFAQ - Five more Color Management Myths

Each month, our President Steve Upton will take time to answer questions we receive on a regular basis. If you have specific questions or comments, please see below for how to make submissions.

Join me in discussing five more color management myths - there seems to be no end to these! Follow the links at the end of the article for the previous 10 myths.

Myth #11: Printing a profiling target is a good way to evaluate a profile.

I cannot tell you how many times we see this happen. It sounds simple enough, really. Print a profiling target to your printer with all color management turned off. Send the target off to CHROMiX to have a profile built for you or build one yourself using your own equipment. To test the profile, reopen the original profiling target in Photoshop and print it through the profile.

Anyone see the flaw, or flaws in this approach?

It sounds like it should work but there is a subtle yet very important function occurring that renders the printed result useless for testing anything but grays. When you print your profiling target originally, no color management is to occur to the pixels in the target. So a 255,0,0 RGB Red will print the PRINTER'S VERSION of 255,0,0 Red. No problem. When you look at the print, the colors seem saturated & pure and seem like they'll build a good profile. (they typically do).

When you reprint the target through the profile, Photoshop has to assume a source color space for the profile. After all, if you are converting TO your new print profile you have to convert FROM something right? (remember, profiles are always applied in pairs) So Photoshop is now assuming that 255,0,0 RGB Red is Adobe RGB red (or whatever you're using as your working space). It is important to note that Adobe RGB's 255,0,0 Red is typically quite a different color than your printer's 255,0,0 Red. That's why you need to build and apply your printer profile in the first place. Adobe RGB 255,0,0 Red sent directly to your printer doesn't look right. (that's why the original profiling target print probably didn't match the target displayed on your monitor).

So when Photoshop converts your 255,0,0 Red from Adobe RGB through your print profile it gets the closest red your printer can supply. This is NOT going to be the same red as the printer's version of 255,0,0 red. To help understand this think of two triangles, one overlaying the other but rotated 15 degrees or so. Your Adobe RGB 255,0,0 is at the tip of one triangle and the printer's 255,0,0 red is at the tip of the other. They're both reddish but definitely not the same - Adobe RGB's red is oranger than the printer's. When Photoshop uses profiles to match, the profile will "move the Adobe RGB red in" toward gray until it hits the first color the printer can print. (think of sliding in toward the center of the Adobe RGB triangle until you hit the edge of the printer's triangle). This will result in a slightly orangy red that is less saturated than Adobe RGB's full 255,0,0 red but fairly hue and lightness-accurate.

Can you see the problem now? You (unknowingly) asked the printer profile for it's closest match to Adobe RGB red. It might have given you a pretty good match but if you are visually comparing to the original printed target's 255,0,0 red you will find they do not match at all! They are not supposed to!

My example of 255,0,0 Red is obviously only one of millions of possible colors, all of which will probably not match! The only exception is the neutral grays. Grays in your working space SHOULD create grays on paper. This can be a pretty good test but the gray patches are often surrounded by colors that throw off your perception and so are hard to judge. If you want to print targets to evaluate grays, use targets which have the grays isolated and be sure to view them under controlled lighting.

A final point to this lengthy description is that the human eye does not do well with patch-to-patch comparisons. Our eyes evolved their color discrimination judging good food from bad and sick people from healthy, among other things. Use real-world pictures of people, food and other natural scenes to judge color accuracy. You will see a subtle magenta shift in dark skin (one of my favorite tests) or a greenish tint in meat way before you will ever see it in color patches of the same colors.

Targets are for computers, pictures are for people.

Myth #12: CMYKLcLm printers are 6 color

Most inkjets in use today use more than 4 inks when printing. (I can say this with some confidence as Epson seems to have over 2/3 of the market and all their printers have more than 4 inks).

In most of these printers, Cyan, Magenta, Yellow and Black inks are joined by light-Cyan (Lc) and light-Magenta (Lm). When lighter, highlight colors are printed, the lighter versions of Cyan and Magenta are used (Yellow is light enough to not typically require a lighter version), Black is almost totally shut off and it becomes very difficult to see any dots. This makes the inkjet appear to print at high resolution and can create smooth color transitions.

>From a more technical "channel control" perspective, the Cyan and Magenta channels are fairly normally behaved. The hues of the light Cyan and light Magenta inks are closely matched to their darker siblings. Imagine printing a "wedge" from 100% ink to white. As the printer moves from 100% dark ink through the midtones it adds progressively more light ink and removes dark ink. When it moves up into the highlights, the darker ink is removed entirely and only light ink remains until it is removed entirely and you finally reach paper white. This behavior is usually transparent to the user although in some RIPs you can control how and where the transitions occur. Either way, it is transparent enough that the blending occurs independently of any color profiling that may occur.

So, as far as profiling is concerned, these are 4-hue printers and we typically make either CMYK (if a RIP is available) or RGB profiles (for normal driver control).

The addition of "light black" (as Epson likes to call it) to some newer printers also does not affect channel control in profiling. Epson has recently introduced a true 6 color printer to their line, adding Red and Blue inks. This printer, along with other true 6-color printers might be profile-able as more-than-cmyk printers but a good RIP that gives full access to all the color channels is still required. For those using manufacturer drivers, RGB is still the type of control we have and the profile that we build.

Myth #13: Look at a print closely to see the color better

OK, so perhaps we don't think about this consciously but we all do it. Grab a print and bring it closer to your face to see the details better.

A little physiology and color history are in order. First, those wonderful color-sensing cones in our eyes are concentrated in an area of your retina called the fovea. Your thumbnail at the end of your arm makes an angle of entry into your eye of about 2 degrees and roughly within your fovea. It makes sense that as you move your thumbnail (or a print sample) closer to your eye, it makes a larger image on your retina and the mix of rods (black and white only) vs cones under that image changes significantly. Does this mean your color perception of it changes as well? Yes in fact, it does.

This "thumbnail" sizing is pretty rough but not a bad visualization. I've done some quick calculations (who said I'd never use trig) and found that I need either shorter arms or fatter thumbs to get 2 degrees but I'm sure you get the idea.

Anyway, color profiling technology today is based on machines attempting to "see" colors as the human eye does. This is achieved in part by using "standard observer" information from the CIE that shows us how the human eye responds to light. There are two main standard observer types: 2 degree and 10 degree. As you might be able to guess, this means we can calculate colors based on the "thumbnail at the end of your arm" size of retinal image or a significantly larger "thumbnail at about 4 inches" size. I've done some color differencing calculations and found that colors can differ by many delta-E in some cases.

So remember that the size of the image in your eye plays a part in color matching. Using a larger lighting booth that requires you to stand a few feet back from your prints is a good idea. Also, if you do large-format work and want to print small samples for proofing, do not print the entire image shrunk down to fit on your proofer's page! Print a chunk of the final work that will fit on your proofer page but not be reduced in magnification. Otherwise you'll be playing optical tricks on yourself that will not result in happy customers.

Myth #14: CRT Brightness & Contrast knobs control Brightness and Contrast (not!)

I don't know about you but the word Brightness to me means, well, brightness. How light or bright something appears to my eye. Related perhaps to how much light it gives off. Contrast (to me) is how much of a difference there is between the light areas of an image and the dark ones.

On CRT monitors however, they don't mean that at all. The Contrast knob controls how brightly white and the lightest colors will appear. It sets the maximum amount of light the screen will produce (also called gain).

The Brightness knob on a CRT controls how light the darkest shadow colors are. Known as bias to engineers, it controls where/when the guns "turn on" to create the first step of gray above black. These are both very important controls when calibrating your monitor but they've always seemed mislabeled to me.

Myth #15: LCD brightness IS brightness which means it's not the same as a CRT

Now that we are moving headlong into the world of flat-panel displays it pays to pay attention to how things work in "LCD land".

What I have found on most non-laptop LCD displays is the disappearance of the Contrast control. The Brightness control is still available and controls the output of the backlight system.

This means that the Brightness control changes the total light output from the display. Yes, this is the job of the Contrast knob on CRT's. So contrast on CRTs becomes brightness on LCDs and brightness is gone!

I'm happy to see that the Brightness control on an LCD has a name that finally makes sense but concerned that this all happened without any notification or explanation. I don't know about you but I didn't get the memo!

I suppose Myths 14 and 15 fall into the "just thought you should know" category.

Thanks for reading,

Steve Upton
June 2004

for the previous 10 myths, follow these links:

Please see ColorNews Issue #9 for the first 5 myths:

Please see ColorNews Issue #11 for the next 5 myths:


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