Digital BW, The Print

Peter--

Being one who is still trying to determine which route to follow, you bring 
to bear my biggest concern.  Based on the reality of what you're saying 
about mixed-color inksets, isn't the logical choice using inksets that use 
only blacks and grays?

Jay


>From: "Peter Nelson" <pnweb@...>
>Reply-To: DigitalBlackandWhiteThePrint@yahoogroups.com
>To: DigitalBlackandWhiteThePrint@yahoogroups.com
>Subject: [Digital BW] Re: Tungsten Balance of Epson Archivals
>Date: Thu, 23 Sep 2004 02:23:10 -0000
>
>--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Tyler Boley"
> > Users are so pesky, looking at their prints under various light sources.
> > Regarding profiling for different illumination color temperatures,
> > it's pretty common these days. Particularly for work for specific
> > installations or exhibits.
>
>Assuming we regard printing for specific installations or exhibits as
>"pretty common".
>
>I agree that the occasional fine-art photographer may have the need or
>ability to predict the lighting where his work will be displayed.  But
>most of us (artists who display their work in galleries) are
>displaying it FOR SALE.   Which means we cannot predict the lighting
>where the customer will display it after purchase.
>
>My experience in balancing BW prints specifically for one kind of
>light, say tungsten or "daylight" fluorescent or whatever is that it
>IS possible to optimize it for a particular light but that the result
>looks dramatically WORSE under other light.     For example with the
>default Epson driver, 2200 BW output looks pinkish under "daylight"
>fluorescent and greenish under true daylight.   I can make it look
>neutral under the fluorescents but then it looks REALLY green under
>daylight!
>
>So forget that!   There are other technologies (quadtone, photographic
>printing, etc) that don't have those problems.  So why tie yourself
>into a knot optimizing a mixed-color inkset for particular light sources?
>
>
>
>
>

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