Digital BW, The Print

Mark,

as I have written here before, I find it far more convenient to do all the work in 
RGB, then drop to grayscale and print. This works for piezo and for all halftone 
bw output . I have not used MIS inks and Paul's curves, but if I did, this 
workflow would fit right in. Depending on the device you may drop to CMYK or 
other spaces instead of gs.

The benefit of this workflow is that you have a master file in RGB and then 
depending on what paper/ink/printer or other device (LVT, LightJet etc) you 
use, you just load a gray custom dot gain, convert a copy of the RGB to gs and 
you are done. This can be a PS action, too.

I realize there are other choices people make along the way, so I am not 
presenting this as the bible of workflows. Just one choice. Keep in mind, that 
my "day job" is running my retouching/prepress studio, in which several 
workflows have to be set up and maintained over time for all sorts of different 
jobs. Best advice: keep a log as detailed as your patience allows!

Antonis


--- In DigitalBlackandWhiteThePrint@y..., "Mark Tucker" <mark@m...> wrote:

 I always scan in Gray, and do all the work in that 
> mode. Then I convert to RGB when I start the toning. I generally 
> embed the ColorMatchRGB profile when I'm working in RGB; 
> Gamma 1.8 when I'm still in Gray. Once I get it ready, THEN I 
> think about how I'm gonna output it: either to the 7000, or to 
> CMYK for a job, etc. Do you work/think like that? Or do you 
> scan/burn/everything with an intended use in mind, from the very 
> start?