Digital BW, The Print

--- In DigitalBlackandWhiteThePrint@y..., Carolyn  Frayn 
<carolyn@u...> wrote:

(snip)

> Nothing special... 

Yeah, sure, Carolyn. Considering I didn't even know you could apply 
filters to alpha channels. I had to print out your message and take 
some time trying all the different blending methods to really follow 
you. This is like a mini class in Photoshop.
 
>I will either paint the areas to be masked with a soft
> brush or I will use any of the selection tools as required with a 
feathered
> edge. Or you can draw a path with the pen tool thru or around the 
areas you
> wish to mask and then select Gausian blur to blur the mask the 
amount
> required for a smooth transition from one layered scan to the next.
> 
> Another method is to choose the tones you wish to mask with the 
magic wand,
> make that selection an alpha channel, blur the channel the amount 
required
> for smooth transition, load the channel and apply to the layer 
mask.  I find
> that blurring the alpha channel can sometimes give me better 
results to the
> transition than feathering the selection when making it.

I really like the technique of using the Guassian Blur on the Alpha 
channel. A great way to select a tonal range for adjustment and have 
it blend invisibly.
> 
> If you are trying to make a linear mask then the gradient tool is 
the way to
> go, great for sunsets etc. Make your gradient in the layer mask, 
remake it
> as many times as you wish till you get the right amount of 
transition and
> then you can add and subtract from the gradient's area with a 
paintbrush.
> Works better than a split density filter??

Is a 747 faster than a Model T?

> 
> If you make a mask from the image (either from an alpha channel or 
by
> clicking alt+control+~) Fill mask with black from this selection 
then alter
> that mask with blurring, painting, gradients etc.
> 
> Another great thing is to use the layer sets feature. Put the layers
> requiring additional masking into a set and then mask the set 
folder. I'll
> use this if I've heavily masked a layer and then wish to add a 
gradient
> mask. The layer goes into the set folder and the gradient is 
applied to the
> folder. 

Another great tip!
> 
(snip)
> 
> They do the same thing as will the "general blending" slider in the 
same
> window as the "advanced blending" but the "advanced blending" 
allows you to
> blend from different channels and has knock out functions.  For 
straight
> photographic images I just use the opacity slider in the layers 
palette
> window.

Appreciate the explanation.
> 
(snip)

> The end of this workflow was for the old non-archival wonderfully 
glossy
> "Epson Photo Paper"... That's where I get a neutral print. I have 
not had
> that kind of luck without using just the black ink using the 
archival inks
> with my 2000P.  They print very neutral under tungsten but shift to 
green
> under daylight. No amount of curve adjustment changes the green 
shift (for
> me) with neutral prints on Epson Archival Matte or watercolor 
paper.  The
> "black ink only prints" suffer no metamerism whatsoever with Epson 
Archival
> inks and EAM.

That is interesting that the metamerism does not involve all the inks 
in the set.
> 
> I hate to say that I've only ever used Epson papers... looking 
forward to
> using all the papers you folks mention.. with all the wonderful 
advise
> given.

I like the Epson papers with the Epson inks but most of glossy papers 
do not do well with the pigment quad inks. Archival Matte has a huge 
following among quad ink users. We just keep looking for that paper 
that is a little whiter and prints a little darker. There are some 
wonderful ones out there but it is a very different look.
> 
> Thanks for the info on quad tone inks... I'll make the plunge on 
something
> this month.  I'm leaning towards the PiezoBW to start.

I believe you said you had a 1200. Are you going to dedicate that to 
the Piezo? I will recommend that you go for the CIS (Continuous 
Inking System) as soon as you can. It will save you many headaches 
and quickly pay for itself. I was going to suggest you check out the 
Piezo list but I see you have already established yourself as the 
resident Mac and Photoshop guru!

(snip)

Here is a question you might be able to answer for me. One of many 
things that drive me nuts in Photoshop and have lead me to believe 
that no photographers were involved in designing the program.

In the darkroom one of the most important tools is a piece of 
cardboard to use for dodging and burning during printing. Some people 
just use their hands. One of the most common things is to burn in the 
sky using the cardboard to mask the foreground. The sky gets burned 
down as a gradient from the top. However, I typically bend the 
cardboard slightly or even into an S shape achieving a gradient burn 
that follows a curved path. As far as I can tell Photoshop only does 
gradients along from a straight line or as a sphere. Is there anyway 
to create a gradient off of a free hand curve or path?

Thanks,

Martin