Digital BW, The Print

It's a little bit clearer.

If I understand well, I could, for example, work on my image and, at the end, add that curve (GG22-to-QTR) to see how it will print.

Already, adding that curve to the ink separation target is a good hint.

When I was talking about the "blacks", I meant that there is no differences in between the 80 to 100 blocks for ink 1 (Black) in the print made using 15% ink limit. Reading the patches, I can already see that 20% would be my "greater" blacks but still, the 80 to 100 is a clump.

Following your approach, I could then scan that print (the one at 20%) and read the remaining inks to determine their limits.

Again, I see that all the inks (from 2 to 6) are "blocked" from 80 to 100. I was aiming to have a little bit more "separation" in the "high" values printing the target but maybe I'm asking too much from that process.

In any event, I'm getting much loser to my darkroom prints.

Thanks again for the help

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, Paul Roark <roark.paul@...> wrote:
>
> <jacques.caron@...> wrote:
> 
> > **
> >  ...
> >
> > I printed one of my picture using Mr.Roark's preset for Red River Polar
> > Matte (using QTRip). The result was pretty good but I think that the blacks
> > could be more defined.
> >
> 
> One of the issues that often crops up with QTR involves the difference
> between QTR's linear printing characteristics and the way a color managed
> workflow displays and prints files.  This might be what is going on.  See
> http://www.paulroark.com/BW-Info/QTR-Printing-Windows.pdf for a brief
> explanation of my QTR printing workflow -- Windows environment.  I use a
> curve to adjust for the differences between Gray Gamma 2.2 and the QTR
> linear printing characteristics.
> 
> Paul
> www.PaulRoark.com
> 
> 
> [Non-text portions of this message have been removed]
>