I use a 19" Eizo LCD at work, and it's great! They're pretty expensive, though.
My colleagues are all using 19" HP LCDs, and they're good too. Their gamut is easily big enough to encompass the magazine work we do, and they don't blow the budget. Frankly, I think most new LCDs are good enough for prepress work. You'd only need the high-end monitors for high-end photographic fine-art work.
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Should be easy to calibrate to the proofers, only guideline I have.
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Surprised that nobody else has queried you on this. Don't fall into the trap of trying to get your monitor to match your output targets. Loosely speaking, modern colour management is monitor-centric. Calibrate your monitor with a good device (eg Gretag Macbeth, Spyder), then build profiles to make everything else match that.
Damo.