Digital BW, The Print

Hello group,

The following is from an extremely amatuer photographer without profiling
ability (yet) so please bare with the non-technical writing.
............

This workflow was written up for someone requesting info on how to print BW
with Epson Dye Inks on Epson Paper.  Obviously not the paper of choice for
most but for anyone interested I find this works pretty well for printing BW
from my Epsons 1200 with Epson color dye inks. I get lovely deep blacks and
richness... but of course I also get dots.


Scanning:  (Nikon LS2000 - Nikon 2.5 software - firmware updated)

I always scan in RGB.  I scan at 2700 dpi : 12 bit : 16 times multi scan

I do not use heavy curves with the scanner software as I prefer to do most
adjustments in Photoshop.  I will set the highlight and shadow points where
they achieve the greatest range without losing detail or I'll just aquire a
raw scan.

Sometimes if the highlight details are missing on the preview I'll apply a
-.1 or less analog gain in master.

If the negative is difficult and I cannot achieve an acceptable tonal range
I will scan two or three times with different curves settings, one optimized
highlights, one for shadows and sometimes one for midtones. Then I combine
the files as layers in photoshop and apply layer masks to each scan allowing
the best parts of each to show through.


Photoshop:

Save file as master.

Under view>proof setup>custom set your printer/paper/ink profile to what you
will be using. In this case I'll use the Epson 1200 Photo Paper profile.

If my file is high bit (12 from scanner - 16 in photoshop) I will do a curve
adjustment before converting to 8 bit. With the curve dialogue open, in RGB
channel I use the  eye droppers to set my highlights and shadow points.
Double click on each eyedropper in turn and set the values for maximum black
and minimum white (the default values for these eye droppers are set for
offset press CMYK output, you can set the K value to 100%). Then adjust
gamma with a slight curve to suit the midtones.

Convert to 8 bit.

If the file was scanned in 8 bit I will apply a curve adjustment layer,
using the above technique but the adjustment layer allows for further
editing later on.

I'll either use a channel mixer adjustment layer (monochrome on) and play
with it until I get a pleasing BW image or I'll convert the file to LAB and
choose the Lightness channel.

If you want to try duo or tritones convert the file to grayscale, then
convert to duotone and select a preset curve (or click the curves beside
each ink and play with it till you love it), then convert back to RGB.  One
of my favorites is a tritone preset Brown 4... it is very subtle.

If there are blocked shadows or I just feel the contrast is to much and I
cannot fix it with gentle curve adjustments I'll use a contrast mask
layer... duplicate image layer, desaturate, invert, gausian blur a bit and
then apply over original image layer with an overlay or soft light blend set
from 10 - 30%.

I sometimes create an alpha channel to make masks for tonal adjustments by
copy/pasting the image layer to a new channel layer and then loading that
channel as a selection, click back to your layers window, choose a curve or
levels adjustment layer and then use the channel selection as a mask on a
levels or curves adjustment layer. Invert the selection and make a new mask
to choose between highlights and shadows.

Also helpful for stubborn negatives is to duplicate the image layer and set
blend mode to "screen" with a low opacity... again adding a mask to this
will help block out areas where you do not want it to apply.

When all is looking fine I will apply a little sharpening. I like to convert
to LAB and sharpen the lightness channel when I can...  Try sharpening
different RGB channels or masking the smooth areas like the sky and
sharpening the rest.  Try doing a little sharpening before using the channel
mixer. Each image warrants it's own unique approach.

Another method I like to use in RGB is to apply "unsharp mask", choose
"fade" under the edit menu but don't change the amount just change the blend
mode from normal to luminosity.

Save the layered file with a new name... I always save the original
scan/scans and then a layered file with all the adjustments. Then I flatten
the file and save it for printing.

Sample Print:

Go to "image size", uncheck "resample", set your resolution at 240 or 360.
Now check "resample" and set the size you want your image to print if it
differs from what is created by setting your resolution.

In the printer driver I set Source Space to "Document": Print Space -
Document "Epson 1200 Photo Paper", Intent "Perceptual".  Or you can just set
the source space to "Proof Setup" if your soft proof is on.
Advanced settings at : Photo Paper: 1400 dpi: Error Diffusion: No Color
Management: 

Print to Epson Photo Paper: let dry

*** Sometimes an image file will posterize when converted to an Epson
profile (the 1200 profiles are not the best.) In this case I will make all
adjustment layers in the original RGB Space (I use Adobe (1998) RGB) without
the soft proof. Then I print without color managment, setting the Source
Space to Document: Print Space to Same as Source and printing in Automatic.

Adjust the image using the sample as a guide... usually my samples have a
magenta cast. I put an adjustment to a curve layer by setting the 128 point
from between 125 and 120 in the red channel. Or if there is a green cast
fiddle with the green channel.

I prefer to achieve a neutral tone as the ambient room light changes the
prints tone itself during the day. I have found that I can get a very
neutral tone, no color casts in highlights or shadows... especially when
viewed under tungsten room light. I do notice that even these dye inks
suffer a small degree of metamerism but then again so do my walls!  Then
again it could be my aging eyes.

.....

I have recently been experimenting with conversion to CMYK after changing
the CMYK set up to Heavy ink/0% dot gain. Then I convert to the
printer/paper profile (RGB). I do not have a RIP so cannot send CMYK files
directly.  I can get a better black and less color is layed down this way.

I used to control CMYK conversion for my images that go to offset press but
they are always color.  Now that I have found a wonderful printer I let them
convert the files for their specific printers.

Is anyone using a RIP seeing an advantage to controlling the CMYK conversion
prior to sending RGB files for black and white inkjet printing? If this has
been covered in excess I appologize. When the Epson converts from my RGB
file it does a great job with color but would monochrome printing be better
served converting using Photoshop with a RIP?

I am looking forward to trying out quad-tone inks... which would you
recommend would be easiest to start out with?


Thanks, Carolyn Frayn
Alberta, Canada






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