Digital BW, The Print

Steve Kale wrote:
> Tyler
> 
> Yes I agree that there are many ways to replicate WYSIWYG.  But this
> proposed workflow is not intended to revolve solely around that.  It is
> intended to more clearly and explicitly relate the tonal range of the
> printer into the final steps of the workflow process.
> 
> The big problem with today's setup is that there is a hidden transfer
> function (a remapping of pixel and their density/luminance values) from
> workspace to print space which is HIDDEN from the view of the user - it is
> imbedded in the RIP code and curve generation process.  It does not conform
> with the user's workspace.  What's more, the nature of this transfer
> function - it's end points, representation of mid grey, and all other points
> between - is different for every paper and ink combination!  Move from a
> curve for matt paper such as EEM to a glossy "curve" on glossy paper and the
> way all your mid tones are reproduced is different.  A PS adjustment curve
> for one will not give the same result for another.  Over the last 2 years I
> have witnessed hundreds if not thousands of posts on this forum which are
> the symptoms of this problem.  People get their prints looking nice on
> screen using the full tonal range available to them and then send it to the
> printer without any understanding of the tonal range limitations of the
> paper/ink combination they are using nor the way the printer will remap
> their original (file's) tonal range to fit the narrower one.

Isn't photographic paper the same?

Part of the problem with the current process, is there are no givens.... 
    People think that they can change parts of the printing process, 
without needing to think about how that will change the process.

For example, say I have a darkroom print, printed on Ilford Multigrade 
RC paper, processed with Ilford's Multigrade Developer,  with copious 
notes on the way it was processed.  Now I move to  Agfa Multicontrast 
Classic, and switch to to Kodak Dektol as the developer, following my 
notes, will the two prints look identical.  Slim chance to none, the 
different papers have different sensitivity curves, and the developers 
work differently.

In the fume room, they resolve this, by only using only one or two 
papers, in fact you would probably only keep one type and brand of 
paper, with some in glossy, satin/pearl and matte finishes.  You would 
learn how the paper reacts to changes, and get fairly good after a 
while, at knowing what the result would look like, seeing the negative 
on the light table.


Same goes for digital printing, if you change the paper or ink or both, 
you should expect the result to look different.  This is why you would 
change the paper or ink or both in the first place.  For example, if I 
have a print on Kodak Ultima Picture Paper, and pop in a sheet of 
Hahnemm\ufffdhle Photo Rag, and print it again, I should expect to have a 
different result.  If I know how those two papers work, with that 
particular ink, in that particular printer, then I will know how I need 
to adjust the image for printing.  The other option is customized 
curves, so that they react the same......

W