[Kodachrome_Project]

Look, bottom line, get out there and talk to *pros* who are too busy making *images* to nit pick the crap out of a great machine like the new MacBook Pro on some blog.

Taken with a D3, uploaded, cropped, tweaked in CS4 and moved to the client from the media tent using my 2.8 GHZ MacBook Pro. I had no problems with glare, the client has no problems with the color or tone of the file, it went right to press...

http://farm4.static.flickr.com/3303/...65509fda_o.jpg

End of story..

[Spheric Harlot]

Originally Posted by ghporter 

As I understand it, with a glossy screen, colors appear more saturated (which can be compensated for with display settings), but other than that and the glare issue that I have yet to have demonstrated to me, I can't see a generic "this is why glossy screens are horrible" complaint.

From what I gather, and from talking to a lot of graphics pros, I think it boils down to this:

1.) Graphics guys are a very conservative bunch.

2.) If you expect the glossy to bother you, it will drive you absolutely apeshit.

3.) If you expect to just work on your content using the best tools for your job, then the glossy has deeper colors and stronger contrast.

That is all.

[Veltliner]

It depends on the kind of image you do.

The image that Kodachrome_Project linked to can be fine various ways.

I wouldn't trust delicate things like skin tones to a glossy screen in particular and a laptop screen in general and in not at all to a glossy laptop screen.

For higher end color correction a laptop screen is not suitable.

What I'd like to see is a screen of the gamut and color accuracy of the Lenovo for the Mac.

And even in that case I'd still prefer a good desktop display and controlled ambient light.

That's not all.

And there's no end of story.

[Spheric Harlot]

Originally Posted by Veltliner 

It depends on the kind of image you do.

Actually, it depends on how well you can deal with the limitations of your tools.

ALL tools come with trade-offs, and it's part of a professional's task to make judgements accordingly and live with those trade-offs.

This will depend in part on the kind of images you work on, and even more on the ENVIRONS in which you work, but mostly, it's a matter of knowing your material.


BTW: From what I gather talking to working professionals, if you're in a situation where you're actually able to control ambient light, you're most likely going to be working with an external display, anyway. This means that your laptop display, regardless of how good it is, is pretty much always going to be somewhat mis-calibrated, and you'll have to work by approximation, anyway. Which goes back to knowing your stuff.