Digital BW, The Print

Roy ­ thanks a lot.  There is a lot for me to think about here but I am
afraid it is now going to be the end of next week before I can get back into
it fully.  I must admit I have not yet made it into the Sepia world and am
thinking about this purely from the perspective of my 2100 loaded with
conventional UC inks and trying to get a B&W image that matches what I see
on the screen.  In particular, I was thinking of the warm curves where only
two inks are used K and LK.   Your points re a Sepia toner have made me take
a step back for further thought.   What of this hypothetical case: I load my
printer with two shades of brown ink ­ dark brown in the K position and
light brown in the LK position. Presumably QTR will faithfully print my grey
scale image in shades of brown brown (with a nicely linearized curve which I
forgot is linearized only with density values rather than RGB
measurements....).  Now if you I were to do an ICC profile according to your
instructions I could preview the image in its printed state.  But if I did
not want a brown image but rather a grey image then everything would be out
of gamut because there is no combination of brown that can make black (for
example).   A conventional use of ICC profiles (a la the colour world) would
show this.  I guess this is where the gap in the circle is with my earlier
thinking and I understand your points ­ it¹s not that I started with a brown
image and wanted to check how it would rendered in the printer¹s brown
space.  Presumably, though, it has some interesting eventual practicality
for a workflow which stays in RGB.  If one could profile the full colour
space capable of a particular printer and ink setup ­ be it just capable of
pure dead neutral shades of grey, warm shades of grey, or one much more
complex that introduces another element(s) of colour tint via a toner(s) ­
then one could work in RBG, introduce a tint or not, and manipulate the
image in RBG to increase or decrease the tint with the knowledge that
WYSIWYG.  

So two last questions for now if you will permit me.    In the current setup
described by Carl and yourself, if I wish to produce a sepia-toned image,
can I alter and preview real time the amount of sepia that will be produced?
I suspect that all I can see is a version of the grey image sepia-toned
given one ink/curve setup and that if I want to see a more-sepia version I
would have to construct and apply another ICC profile for a different
toner/ink mix.  In a simpler case, if I can preview it  with the warm-EEM
curve or the cool-EEM curve but if I want to see it with 50:50 then
presumably another ICC profile must be produced.....The last question:  in
order to see the sepia version doesn¹t my workspace have to be a colour one
or is this taken care of automatically by PS when I proof?

Cheers 

Steve





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