Digital BW, The Print

Right, the ink limits are just a QTR adjustment. The photo needs to be
worked into a grayscale 2.2 TIFF ahead of printing, but the idea is that
after calibration the pixel values shouldn't have to be adjusted for
different ink/paper combinations.

I haven't worked out how this applies to variable tone inksets (if it can
at all). But then, in the wet darkroom I just liked Oriental Seagull graded
papers and was willing to work within their limits.

Pete

On Wed, Mar 20, 2013 at 3:52 PM, jcphoto52 <jacques.caron@videotron.qc.ca>wrote:

> Thanks Mr.Bergstrom
>
> This "ink limit" manipulation is done only with QTR?
>
> I'll "dig" into your recipe to see what I can do to improve my printings.
> I already downloaded the picture from Northlight, just in case.
>
> More experiences ahead but... I like that a lot!
>
>
> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, Pete Bergstrom
> <petebergstrom@...> wrote:
> >
> > Oh, I understand your situation well, and I don't want to derail the
> > progress you've made. The Photoshop curve stuff looks more complicated to
> > me.
> >
> > I've been meaning to write up my recent QTR calibration experience and
> I'll
> > try to get to it soon, but what I found is that with a flatbed scanner
> > (Epson 4870 in my case) I could calibrate a new set of EB6 inks (my own
> > dilution ratios) in about 4 prints, and the procedure is fairly simple.
> > It's drawn from Paul Roark's writings, but in my simple experience I
> think
> > it can be executed more simply than as I saw it described.
> >
>
>
>
>
>
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