Digital BW, The Print

Johnny ...

Thanks for your thoughtful reply.

The Sony Artisan monitor comes with a calibration sensor which is
connected to the computer in the standard manner.  In addition, it has
another USB feedback cable that runs from the computer to the monitor.
 The idea is to 'feedback' information regarding the performance of
the monitor during calibration, from the computer to the monitor, and
automatically make appropriate changes to the monitors setup in order
to optimize its performance.  The software/hardware combination is
'Sony proprietary' and is designed to take full advantage of Sony's
knowledge of their monitor's circuitry.  One runs the calibration
procedure a minimum of once a month.

I use a procedure very similar to the Zuber procedure you reference.
The luminance vaules I reported are 'L' values.  For example the black
point QTR is delivering on the Ultrasmooth paper is 19 on the
Luminance scale, which corresponds to about 49,49,49 on the RGB scale
and that's a lot higher than the Black Point for this paper!

Without question, using QTR has banished the dreaded color casts,
which are now history.  However, I do not think I am getting all of
the potential tonality out of the paper, nor is the result linear(with
'0' settings on the 'Ink Limit' and 'Gamma' sliders).  My objective is
a profile (on a PC system) that both maximizes and linearizes tonal
scale for each paper/ink/printer combination I use.  While QTR is a
quantum improvement, I have not been able to accomplish this
aforementioned objective.

Thanks for your response to my post.

Fred Drury,
Markland Imaging.

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Johnny Eades"
<jeades1@s...> wrote:
> 
> Hello Fred, 
> 
>  
> >
> 
> I take it your monitor is calibrated using some kind of device and 
> software combination. This is a must to produce consistent and 
> predictable results from any workflow. Go to 
> www.zuberphotographics.com and download the Black Point/White Point 
> information for the printer. Do the procedure to determine what Black 
> Point is needed to allow you to print a full tonal ranged image, and 
> then do the procedure for the White Point to do the same thing. You 
> may be surprised what this simple procedure can do for your printing 
> results. I found that I had been using the Zero point to indicate my 
> black point and after doing the BP/WP I now use BP=19 and WP=252. Do 
> this test on all the types of paper you use.
>  
> 
> Roy has created a gray working space to enable softproofing from the 
> working gray workspace. Download from Roy's website the two QTR-Gray 
> Lab and QTR-Gray Lab Matte/Photo files. After you have image ready to 
> convert to Grayscale, go to Image>Mode>Convert to profile and choose 
> the Gray Lab; then immediately after converting it to Gray Lab; 
> convert it AGAIN to Gray Lab Matte to have final access to your soft 
> proofing procedure. Further adjustments can be done to the image 
> before saving and printing. The results from the BP/WP testing can be 
> put into a curve that can be applied to the Grayscale image (Gray Lab 
> or Gray Lab Matte/Photo) and the resulting image will print with the 
> minimum amout of ink to show total black on the paper used and the 
> maximum amount of ink to show total white. I hope your results will 
> please and surprise you. Mine surely did when I followed this system.
> 
> Your friend in Photography,
> 
> Johnny