Digital BW, The Print

Thanks Larry,

Mike

On Wednesday, May 1, 2002, at 05:22 PM, lrryr@... wrote:

> 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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>
>
> Please visit the Group Homepage to check the Files, Bookmarks, Polls 
> and other resources as they are often being updated. The page is at:
>
> http://groups.yahoo.com/group/DigitalBlackandWhiteThePrint
>
> Please follow these basic guidelines:
> - Include your full name with your message.
> - Include the address of your website, if you have one.
> - As threads develop, trim off excess portions of earlier messages to 
> keep them short.
> - As the topic of a thread changes remember to change the subject 
> header.
> - Good manners are required at all time. No personal attacks or 
> "flames."
> - Complete your Yahoo profile.
> - Before posting a question, search the message archives and the 
> various resources on the homepage.
>
>
>
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