Digital BW, The Print

Adrian,

I've been using Pauls Curves/MIS inks from the first set Paul Made. I imagine you can make a transfer curve if you want so you can lose those shadow details. But I thought that is what everybody wanted. GREAT shadow detail, and still be able to get a pure 100 percent black! If you want to lose the shadows, you can always make an adjustment curve in photoshop that will take them down to what ever you want them to be, and save
the curve for use elsewhere.  Paul's curves are not finalized yet, but he is closing in on the final ones now.

Jerry



Adrian Joyner wrote:

> When I try a new paper I always print the Cone test file  'Proof of Piezography' first and I find that from this I get a good idea as to how the paper will react to the inks. I am particularly interested in the resolution of the 1% steps in the 92%-100% blacks and 1%-9% Whites as the ability of Piezo to resolve these well, albeit on very few papers, is a considerable achievement.
>
> When I got my MIS variable tone inset and Paul Roark curves I had been working on an image that had a side of a mountain that was in deep shadow. Piezo printed this with great richness and detail. MIS inks produced a totally different and unwanted effect with a much expanded tonal range in the shadows.
>
> So I returned to the proof of piezography file that I should have been first using for  testing in the beginning. If I print the file with the piezo driver on Epson Archival Matte I can see that it just can resolve the blacks from 92% - 100% in 1% increments. Likewise with the MIS inks and the Roark curve. BUT the MIS 92% is much lighter than the Piezo 92% to the point that the MIS prints looks as if it is showing 2% steps.
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> Is this something inherent with the MIS solution or am I missing something.
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> Apart from this I think that the Roark/MIS combo is stunning and the ability to change the image color is most welcome.
>
> Adrian Joyner
> Clevedon
> England
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