Digital BW, The Print

One other thing worth mentioning, I believe, but havnt 
substantiated, that the peizo inks are more opaque to uv 
than a densitometer will tell you. I've set my negatives 
density's to 1.0 or so on my densitometer and I believe 
I get pretty good range on my ziatypes. Unfortunately my 
time available for this is so sporadic I havnt arrived 
at any definite conclusions.

Also I've written an excel spreadsheet that does the 
nescessary interpolation for generating new transfer 
functions or curves after printing and reading a step 
wedge. I'll put it up on the web for download when I get 
home tonight.

Larry
> --- In DigitalBlackandWhiteThePrint@y..., lrryr@a... wrote:
> > The only transparency material out there (that I know 
> > of) that will hold enough ink to get the density's 
> > needed is Pictorico OHP.
> > 
> > The problems are:
> > 
> > 1. Zero dot gain, any inconsistancy in the printing 
> > sticks out like a sore thumb, the dither patterns (and 
> > the peizo pattern) are painfully apparent.
> 
> Larry,
> 
> So what you are saying is that the ink does not spread amd absorb 
> into the media to hide imperfections. I guess this is where the very 
> small print head nozzles would be beneficial. 
> 
> A friend of mine is making 4x5 negatives on Pictorico OHP utilizing 
> Berkholder's methods. There are two ways he makes desktop negatives. 
> One is using color fill and the other is called something else. It 
> is this second method that Tom says works the best. His 4x5 Platinum 
> prints look as nice as his prints made from the duplicate negatives.
> 
> The texture and properties of the fine art watercolor papers that 
> are coated with Platinum salts are much like the digital papers. The 
> inherently hide the imperfections. The platinum process is self 
> masking. That is the emulsion becomes less sensitive to exposure as 
> time goes on. So it is possible to gain detail in the highlights 
> without the risk of blocking up the shadow detail. I am not sure how 
> this helps, but I thought I would throw it onto the table.
> 
> > 2. The dark end of the negative has an extreme image % 
> > vs print density curve that needs to be straightened. 
> > this is true with both the epson driver and the peizo 
> > driver. Applying a correction in curves with this 
> > results in noticeable posterization. If this could be 
> > handled in 16 bits in a rip, that may take care of it.
> 
> I don't see why it could not. In fact, using CMYK inks to make the 
> negatives as colorized monochrome images, a standard RIP could be 
> used to take advantage of the RIPs dither, ink channel, reduction 
> and adjustment capabilities.
> 
> > I'm glad to hear others are interested in pursueing this.
> 
> I think that unless someone is having great success with making 
> negatives on a 1280, or 10000 and is willing to share the successes 
> publicly, this may be a long arduous process.
> 
> I will eventually ask Martin and Antonis to include a digital 
> negative section in the Files area as a database so that we can all 
> share our triumphs and failures. 
> 
> Mike
> 
> 
> 
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