Digital BW, The Print

Hi Peter,

For the simple reason that your (plural) "discussion" has declined to the
level of oh yeah I'm right and you are wrong. One can only state the same
arguments so many times before it becomes obvious neither party is willing
to be convinced of the others position.

Just my opinion, I'm not the email police and and I can always click the X
on Outlook (at the danger of getting repetitive motion injury...)

My own scientific background isn't too shabby and possibly rivals your own.
Just for the record I am also an old "dark room geek...."

Roger

Roger L. Sopher, MD
Professor Emeritus of Pathology
  -----Original Message-----
  From: Peter Nelson [mailto:peter@...]
  Sent: Thursday, May 22, 2003 2:31 PM
  To: DigitalBlackandWhiteThePrint@yahoogroups.com
  Subject: Re: [Digital BW] Digital, film, scanning comparisons


  --- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Roger L
  Sopher" <rlsopher@c...> wrote:
  > C'mon guys, give it a rest...

  Why?  It's not off-topic.

  This IS relevant to printing in general and black and white printing
  in particular.   The relationship between the reflectance spectra of
  pigments and colors we perceive is important to problems like
  metamerism, profile-matching of monitors and printers, and how to
  use CMYK (and its variants) to produce even grayscales.

  Anthony raises some interesting questions.   Assuming that a Y
  pigment in an inkjet printer produces an actual yellow (say, 560 nm)
  what does it mean to "match" this to a yellow on a monitor which is
  really comprised of a red and a green?   If you go to my web page
  where I have enlarged  "grayscale" images showing the actual dots of
  ink laid down by a 2200 you can see all the different ways
  the "same" color is created.   How might these methods prove
  DIFFERENTLY sensitive to ambient lighting and how might that inform
  our choice of drivers or inks?

  My undergraduate major was the neurophysiology of visual
  processing.  (imaging sticking single-cell recording devices in
  cat's brains).   So this is a very interesting topic, as well.

  Shortly after I joined the group some months back I complained that
  one difference between darkroom printers I knew and digital ones is
  that many darkroom printers I knew were genuinely interested in the
  chemistry and physics of their craft, whereas too many digital
  printers "black-boxed" everything.   When I have questions about the
  chemistry of developing and printing or the physical properties of
  emulsions and papers I can always find some old darkroom geek who
  knows the answer.   But when I have similar questions about the
  physical and chemical properties of inks and inkjet papers it's hard
  to find people here who know or even care.   Your complaint
  reinforces that stereotype.



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