I've done some more experients with GLOP and learned the following: - Using 100% GLOP in a profile is problematic. All the bronzing is gone, but I get large visible horizontal bands. I think this is because the paper is being overloaded with ink. - Profiles where I jump straight from PKN to the lighter gray and toner inks in the UT7 inkset seems to require less GLOP to remove the bronzing. Around 50-60% seems to do the trick. - Applying the GLOP as a separate overcoat at 50% works extremely well. No bronzing and dmax seems to be slightly better than when the GLOP is applied in the print profile. - It's much less annoying to print the second overcoat than I thought it would be. QTRgui remembers the position of the last image so I just reprint it with a glop_50 profile that I've made. I also set the print speed to 'Faster' since I figure this doesn't really matter with the glop anyway. - I was totally unable to get any reduction in bronzing at 10%, even when I pretty much copied Carl's profiles. The explanation must be that I've done all my experiments on Epson Premium Semigloss so far, and that other papers do much better in this regard. I will try Ilford Smooth Pearl next and see if it's any different. - When the glop is applied in the profile the tone appears slightly cooler. I don't get the same effect when it's used as an overcoat. - I tried Carl's trick for disabling the pizza wheels on my 2100 and it worked like a charm. Finally I can get glossy prints without all those annoying track marks! (My exit rollers have already been disabled with nylon ties for a long time) - The dmax of the PKN is really good. The blacks are really black, and the neutral tone makes profiling much easier. - Overall I'm extremely pleased with the results I'm getting. I feel that I'm at the point where I can produce usable prints with this setup. I still love the look of a good print on cotton rag paper, but I now consider glossy prints with GLOP a really good alternative. -- Daniel Staver http://daniel.staver.no
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GLOP update
2005-02-18 by Daniel Staver
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