Digital BW, The Print

Hi Paul

Yes you are right because you in effect manually set the 50% grey slot
(presumably with some iteration).  My comment was made in relation to a
programme such as QTR where the midpoint is a function of linearization.  I
caught my generalization after hitting send and thought I might hear from
you!  My rather simple point is that the mid point (and all other points in
the printer's tonal range) ideally would be the same as the workspace
(whatever one chooses that to be) else there is a transfer function
occurring that is not readily visible (nor intuitive) to the user.

I do not know how you go about the process of setting your curves but can
only suspect it must be quite a fiddly and iterative process.  You also have
the disadvantage of working with a closed box - the Epson driver. It does
what it does and you work around it/with it.  In an open system, one can
consider whether things inside the box could be better arranged another way.

Cheers

Steve


> From: Paul Roark <paul.roark@...>
> Reply-To: <DigitalBlackandWhiteThePrint@yahoogroups.com>
> Date: Fri, 3 Dec 2004 08:21:06 -0800
> To: <DigitalBlackandWhiteThePrint@yahoogroups.com>
> Subject: RE: [Digital BW] Tonal range and linearization
> 
> 
>> ...As currently configured, mid grey shifts when we load one
>> print curve vs another - even though it did not shift in the
>> digital negative...
> 
> Not with my curves -- although, of course, the tolerances & consistency of
> our systems are not perfect.
> 
> The simple bottom line question for me is what that midpoint target should
> be.  Does a target of Lab L=50 (about visual density 0.73) come closer to
> what you think would be the best midpoint target?  I assume you think the
> midpoint target should match the monitors, which I fear may vary.  As I
> noted earlier, I've been consistently using 0.61, but the L=50, which is
> also the Kodak standard gray card density, has a lot of appeal to me on at
> least some levels.
> 
> Paul
> www.PaulRoark.com
> 
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