Digital BW, The Print

Thanks for the tip Antonis.  Yes, I tried that and it did work fairly  
well.  For example, using your base Cool profile I turned on the light  
magenta channel and then imported the light cyan curve (previously  
saved out as a separate curve file) to give a 1:1 C/M starting point  
and then varied the ink limits for light cyan and light magenta.   
Setting the ink limits for light cyan and light magenta at C=8, M=10  
seemed to give a nice, subtle selenium tone appearance in the shadows  
when printing a 50/50 blend with the warm profile.  Varying the ink  
limit ratio by as little as 2 points had a significant effect on  
overall tone so the ink limit adjustment is quite sensitive.  I did  
also drop the magenta curve slightly in the highlights to keep them  
neutral.  These experiments were with Eclipse Satine.

Carl

On Wednesday, April 2, 2003, at 06:20  PM, Antonis Ricos wrote:

> Carl,
>
> from reading what Robert said, I imagine he means the ratio of the ink  
> limits
> for each ink (Magenta and Cyan). Remember that you can save (export) a
> curve out of one ink and import it into another, thus matching the two
> completely as they track across the scale. Then, by using ink limits  
> you can
> easily play with their ratios without affecting their "shape".
>
> Antonis
>
>
>
>
>
> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, Carl Schofield
> <scho@m...> wrote:
>> Robert,
> ...
>   When you suggested a 2:1 ratio of M/C for the cool profile did
>> you mean relative M/C curve amplitudes or measured M/C values?
>
>
>> On Tuesday, April 1, 2003, at 09:08  PM, Robert Morrison wrote:
>>
>>> I think using a cool curve with a 2:1 ratio of magenta to cyan should
>>> blend
>>> with the warm curve to make a fantastic selenium tone option.
>
>
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