Digital BW, The Print

Hi Carl,

I just sent my post about leaving out Eboni.  I'm thinking that once
you drop eboni from the mix you may actually be able to use the
toner.

Roy

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, Carl Schofield <scho@m...> 
wrote:
> Paul,
> 
> You are right about the toner limitation for glossy with the UT1 inks 
> and I have some UT2 inks on order from MIS, but I just wanted to see 
> how this worked with the UT1 inks since I still have them loaded in the 
> 1270.  I did get somewhat higher dmax with Epson Pro Glossy (1.76) and 
> even better with Ilford Smooth Pearl (2.04), using the same 92% curve 
> limit at 100%.  However, when I printed a QTR warm curve (no toner) on 
> the Pro Glossy the dmax dropped to 1.59 and the print showed bronzing 
> and gloss differential as well.
> 
> Carl
> On Monday, January 19, 2004, at 04:05  PM, Paul Roark wrote:
> 
> > Carl,
> >
> > The problem with this Eboni-glossy printing approach and the UT1 is the
> > light toner.  In UT2 the coolness comes from an ink that is actually a 
> > hair
> > darker than the UT1 cyan.  That accounts for the dmax differences, I 
> > assume.
> >
> > Paul
> > www.PaulRoark.com
> > _____________________________________
> >
> > -----Original Message-----
> > From: Carl Schofield [mailto:scho@m...]
> > Sent: Monday, January 19, 2004 12:50 PM
> > To: DigitalBlackandWhiteThePrint@yahoogroups.com
> > Subject: Re: [Digital BW] Re: Glossy printing with Eboni -- who needs a
> > 4000?
> >
> > Roy & Paul,
> >
> > I tried the UT1 inks with Eboni K in my 1270 using a neutral curve in
> > QTR and printed to Epson Photo Paper.  The Eboni rubbed off and showed
> > a gloss differential only in the 100% patch.  However, by applying a
> > curve adjustment layer and limiting output at 100% I was able to get
> > rid of the rub-off and gloss differential.  The "optimal" 100% output
> > limit in terms of dmax was at 92% and there was no rub-off or gloss
> > differential.  Print looked great with no bronzing either.  Dmax
> > numbers (see chart below) were not that great but the blacks still
> > looked good.  I did no spraying with Print Shield for these tests.  I
> > wonder if more C position gray ink were laid down under the Eboni if
> > dmax would be higher.  Roy, could this be accomplished with a higher
> > GRAY-OVERLAP?  I was using 10%.
> >
> > Carl
> >
> > Curves 100% Ouput	D
> > 90	1.64
> > 91	1.64
> > 92	1.65
> > 93	1.631
> > 94	1.614
> > 95	1.609
> > On Monday, January 19, 2004, at 02:42  PM, Roy Harrington wrote:
> >
> >>
> >> Hi Paul,
> >>
> >> I'm curious just what you've got here.  Is it that this one specific
> >> paper Smooth Pearl is somehow compatible with Eboni but
> >> others aren't?    Or are you just not using the Eboni ink by making
> >> the 100% spot just 100% R and G and 0% B -- i.e. the dark warm
> >> gray and dark cool gray inks are enough to give a great dMax.
> >>
> >> Roy
> >>
> >> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Paul Roark"
> >> <paul.roark@v...> wrote:
> >>> OK, this is a little half-baked, but the bottom line is that I've hit
> >>> a dmax
> >>> of 2.28 on Ilford Galerie Smooth Pearl - with Eboni.  There is not
> >>> significant dusting or rub-off.
> >>>
> >>>
> >>>
> >>> The secret is that the UT2 (and perhaps UT1) inks use a base that is
> >>> the
> >>> glossy binder.  It's not an acrylic coating on the particle.  So, I
> >>> don't
> >>> let Eboni sit there by itself - or barely at all.  So, to the extent
> >>> there
> >>> is Eboni there, it is held by the base that carried the other inks
> >>> into that
> >>> spot.  The best dmax so far is with the yellow position sepia toner
> >>> pulled
> >>> out entirely at the 100% spot.
> >>>
> >>>
> >>>
> >>> Whether I can write full curves for this is untested.
> >>>
> >>>
> >>>
> >>> So, there is more to do here before declaring any kind of victory,
> >>> but we
> >>> may not need to mess with switching blacks any more.  Now that would
> >>> be
> >>> nice.
> >>>