Digital BW, The Print

Folks, I decided to repeat what I posted in the "early days" of this list (like a 
week ago!! <s>) under message 24, because no one picked up the thread - 
and perhaps no one was _here_ to pick it up. I was prompted to do this by 
Todd's recent post about breaks in the 3/4 tones. Please read on:
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Here now is a workflow idea (8 or 16bits)  that I would like to post for
feedback and comments:  

-The scan of the negative or other monochrome original is done in RGB (8 or 
16) and  saved out of the scanner software with the appropriate profile. If it is 
an existing gs file, it can be thrown into RGB mode (with careful choices in the 
gray and RGB color settings).

- The file is then opened in photoshop for tonal adjustments while still in RGB. 
But  before starting, we check our color settings (the following assumes PS 6): 
a)----Under gray we have created a curve that matches the paper/ink/printer 
we intend to use. That means that a _grayscale file_ on screen will look 
identical to a print made under those settings. 
b)----Under RGB we set the same color space that the file came from, so that 
the intentions of the scanner and our view in PS match. The only real critical 
number here is the gamma.

- We now do global and local adjustments as needed while still in RGB mode. 
 At this point we have the option to add a channel mixer set to mono as the top 
layer (if in 8bits) which does 2 things: Helps us see a consistent gray-color 
image, and allows us to pick whatever mix of scanner channels looks best 
(more important for CCD users).

- After we are happy with the look of the image, we make a dupe of the file, 
flatten (if it was 8bits) and convert to grayscale. We now notice that the file
looks exactly the same in grayscale as it did in RGB. What in fact has 
happened is that Photoshop has internally "adapted" the RGB file to the Gray 
settings we previously set, which compensated for our paper/ink/printer. It is 
like putting it through a custom profile made for our specific output.

- We now take that grayscale and print with no further adjustments.

There may be several benefits to this:

-We have a master file in RGB from which subsequent gray files can be made 
for different papers just as one would for color (through profiles). 
- We have used all the information our scanner is capable of by utilizing all
its channels with whatever benefits they each may have in noise, sharpness 
etc.
- We have done no moves in the fragile 8bit gray mode. We stand a chance at 
a better histogram (depending on whether we move all 3 channels at once or 
separately).

That's the general idea: work in RGB, drop to a pre-calibrated gray when done 
and print with no other tweaks. This may help with the situation Todd was 
describing - but is also a good workflow that allows quick alternate files for 
different print settings without re-curving each file.

I hope we can compare notes on the above.

Antonis Ricos