Digital BW, The Print

Thank you for this explanation, Tyler. (And for your curves for that
matter - they are the only things keeping me from throwing my 1280 off
a bridge, after switching it to CIS Paul's curves spontaneously
stopped working for me - probably a bad batch of ink, I guess.)

Question 1 - does it matter what working space I choose when using
your curves? If so, which one do you recommend? I have had decent (but
different) results in both Adobe RGB and sRBG

Question 2 - How does the media setting in photoshop affect things? Is
there a way to have the curves work in 2880 dpi effectively? (Or is
this just irrelevant?)

Question 3 - I have a subtle (but irritating) problem with _every_
curve I use whereby there's a small dark band around the 70% point -
this is better with your curves than Paul's, but still a problem, any
thoughts about how I might mitigate the problem? (I am using a 1280 on
an OSX mac and your recommended settings (though perhaps the wrong
colorspace?)

Question 4 - Does the Magenta slider still affect the tone of the
print with your curves?

--- In DigitalBlackandWhiteThePrint@y..., "tboleyyh" <tyler@t...> wrote:
> Carolyn is right. Color managed workflows, in my experience, are
cross platform. You can't avoid color management any 
> more, if you are working in Photoshop, you are being managed whether
you like it or not so you might as well learn it. 
> Actually, it's essential, but there are some pitfalls to avoid so it
all works.
> You must avoid letting the Epson driver inject it's problems into
the mix. With quads, using separations, you want all your 
> control in photoshop to be transferred to the inks without further
mixing. Considering you can't get around the drivers 
> injection of K ink and the removal of other inks in the process you
already have problems, you don't need more. The only 
> way to directly control C, M, and Y inks (until their combined
percentages force K) is to stay in no color adjustment in the 
> driver.
> You also must have your destination space be "same as source" or
there will be color managed corrections you don't need 
> or want. The other issue is "Printer Color Management". C. D. Tobie,
who I notice has been on this list a bit, just posted about 
> it on the Colorsync list. It does different things on different
platforms, and is very misunderstood. I think, on the PC, it even 
> does different things with different drivers, and different versions
of PS. There is a lot of info out there in the archives of 
> other lists.
> By making sure your source and destination spaces are clearly
defined and the same, making sure PCM is out of the 
> picture, driver settings are always consistent, and no color
adjustment is always used in the Epson driver, results should 
> be cross platform. I've produced workflows on the Mac for people on
PC's without a problem. These curves for Martin's PC 
> were created on a Mac.
> The PCM issue needs to be addressed though, if I remember right in
PS 5.x on a PC it actually had to be checked or the 
> monitor profile would be used for source behind your back. Could
have been the reverse, but I seem to recall it was 
> opposite for the Mac.
> Confused yet?
> Tyler