Digital BW, The Print

Carl,

That's what I was thinking.  If there's no problem using all the light inks
sparingly, then you could have an ultimate B&W printer -- Matte Black,
Photo Black, Light Black, and a Very Light Black for the gray inks.  This
gives you 4 grays for matte paper and 3 grays for glossy.  Then you have
a light C,M and Y for any toning you like.  Just a thought.

Roy

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, Carl Schofield <scho@m...> 
wrote:
> I also found Antonis's  linearization tutorial very informative and  
> helpful.  I haven't seen any metamerism in sepia prints I've made using  
> IJC/OPM or QTR profiles that employ K, LK, LM, and Y inks only with  
> very small amounts of the yellow and light magenta used for toning.   
> Perhaps the metamerism is more dependent on ink load, rather than just  
> the yellow ink.
> 
> Carl
> On Sunday, July 6, 2003, at 02:37  AM, Roy Harrington wrote:
> 
> >
> >
> > Antonis,
> >
> > I enjoyed your description of the IJC linearization and the issues  
> > found.
> > I don't own a 2200 but Carl Schofield has done some work on the curves
> > for it using QuadToneRIP.  During that, we also ran into the issues of
> > adding light-cyan and light-magenta to neutralize the tone.  In fact I  
> > think
> > trying to compensate for the added density was the major effort in the
> > cool curve.  Carl also had some nice plots of density. See:
> >
> > http://harrington.com/QTR-2200.pdf
> >
> > I see you did some sepia curves lately, did you notice much metamerism
> > in those prints?   All along the yellow ink seems to have been blamed
> > for metamerism -- I wonder how true that is.
> >
> > Roy
> >