Digital BW, The Print

Carolyn,

Thank you for the wonderfully detailed workflow! This is great not 
only for those who want to make B&W prints using Epson or other color 
ink sets but gives a nice workflow for taking any image from scan to 
print regardless of the ink set used. Good reading for all.

B&W from color is a topic that comes up frequently. I have posted 
Carolyn's workflow in the "Files" section under Image Processing.

Oh, by the way don't let Carolyn's claims of being an amateur fool 
you. She has been working with Photoshop for over five years and 
raises questions about CMYK separations and RIP's, which I personally 
consider stretching the definition of "amateur" beyond the legal 
limit. I don't think she is allowed to play in the novice class. Read 
her workflow and you will see what I mean.

Martin Wesley


--- In DigitalBlackandWhiteThePrint@y..., Carolyn  Frayn 
<carolyn@u...> wrote:
> 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
> 
> 
> 
> 
> 
> 
> [Non-text portions of this message have been removed]