Digital BW, The Print

jcphoto52 <jacques.caron@...> wrote:

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> ... EB6 with an Epson 1430.
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> ... from 0-0-0 to 25-25-25 I get the same black or almost.
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Note the graphs on page 6 of http://www.paulroark.com/BW-Info/Eboni-6.pdf .

The most common workspace -- gray gamma 2.2 and Adobe RGB -- compress the
shadow tones significantly.  So, what you are seeing is not uncommon.  QTR,
on the other hand, uses a straight line curve.  Both workflows can be
use successfully  but proper profiles need to be used, and the monitor may
need to be calibrated or otherwise adjusted.

Usually, the goal is to have the print match the relative densities that
are displayed on the monitor.  That is what monitor calibration and ICCs in
a "color managed" workflow are supposed to do.  QTR is not a "color
managed" workflow but there are a variety of methods to accomplish the same
thing when using that approach.   (In
http://www.paulroark.com/BW-Info/Eboni-4-Plus.pdf I have more on QTR
profiling.)

I recommend that people use Adobe RGB and Gray Gamma 2.2 as their working
spaces in Photoshop.  (Edit>Color Setings pulls up the box that allows you
to set the Working Spaces.  I set RGB to Adobe RGB (1998) and Gray to Gray
Gamma 2.2.)

As noted in the PDFs, the Epson driver's built in "color controls" profiles
can come close to the usual gray gamma 2.2 density distribution, including
the compression of the shadow tones.  However, the Epson driver has only
limited controls to modify the shape of the curve.  Particularly with the
modern, very bright LCD monitors, matching the monitor to the print may not
happen with everything set at the manufacturer's default settings.

While I think most will want to be able to at least "linearize" existing
profiles, which can be down with a flatbed scanner (see QTR's Step Wedge
Tool and Readme file), it might be easier, initially, if one is using just
the Epson "color controls" to adjust the monitor via its controls so that
it matches the prints.  Frankly, I have different monitor control settings
for different printing and viewing circumstances.  B&W prints can be quite
sensitive to the light level of the viewing environment.

I have also used Photoshop image adjustment curves to adjust between what
the monitor shows and how the print will look.  For example, since I edit
in Gray Gamma 2.2, I apply a curve that is in my Profile Zip files to
adjust for the difference between the color managed ICC workflow and QTR
(GG22-to-QTR.acv).   One can also make a curve that is the inverse of this
one to open up the shadows more.

Again, ideally, in a color managed workflow the print would match the
monitor.  However, in the real world, the LCD monitors are set too bright
for most print viewing.  The controls on the the monitor and/or its driver
may be better tools than exist in the Epson driver's "color controls."

Paul
www.PaulRoark.com

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