Digital BW, The Print

Paul,
I think thats a good plan.

The problem you're refering to with linearization and hues is, I
think, just a subset of the same problems experienced in attempting to
linearize greyscales made with all ink colors from full color sets.
The various papers are all over the place in their responses to
different colors. I wonder if we just don't have fine enough
increments of control on the printers as yet. Maybe 16bit some day?
Or perhaps paper coatings truly neutral in impact on the ink chemistry.

In the meanwhile, limiting the inkset for B&W to only 1 or 2 colors,
as is now, perhaps may permit a practical(for most purposes) solution.
Here's hoping your undoubted brilliance will triumph and gain one:)

See what all you started with a simple request? (g)

Regards.
Duane

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Paul Roark" <.
> 
> After considering all the posts, discussions with "experts" not on the
> forum, and further experiments with competing approaches, I'm going to
> continue to use the Photoshop View preview/soft-proofing method that
I've
> used for a long time.  Having the best view -- and the old PS
approach with
> its custom dot gain curve does solve the problems -- is a superior
solution
> than having the print match a poor view on the monitor.  
> 
> But it was an interesting exercise.
> 
> I think the addition of a correction layer is probably still an
important
> method of profiling a new paper with, in effect, a linearization layer.
> I'll probably continue to experiment with it in that roll when I
have more
> time.  I also think getting that linearization layer to be
accessible and
> adjustable visually is a worthwhile advance.  However, these layers
do not
> end up giving truly neutral and even tones when, for example, a
correction
> layer is used to linearize UltraSmooth UT7 curves to Moab paper.  I
think
> the linearization steps are a major advance for the rips, but they
do not
> end up with profiles that are adjusted correctly with respect to the
tones
> (hues) when using variable-tone inksets.  There is no substitute for
doing
> the work from what I can see.
> 
> Paul
> www.PaulRoark.com 
> 
> 
> > -----Original Message-----
> > From: Ernst Dinkla [mailto:E.Dinkla@c...]
> > Sent: Tuesday, April 12, 2005 2:29 AM
> > To: DigitalBlackandWhiteThePrint@yahoogroups.com
> > Subject: Re: [Digital BW] Matching Monitor and Print
> > 
> > 
> > Paul Roark wrote:
> > 
> > >
> > >
> > >The range Steve measured is, I assume, from a LCD.  He gets about 6+
> > stops.
> > >Using the same techniques, I get about 4+ stops with my CRT. 
I've been
> > told
> > >LCDs can be about 50% brighter than CRTs.  Oddly, part of this
difference
> > in
> > >my case is due to the calibration procedure (Spyder2Pro), which
resulted
> > in
> > >me setting the brightness at just above 80%.
> > >
> > >If I have the lights off and wear a black shirt, the CRT range
approaches
> > >what Steve measured.  But the reflections wipe out that black point
> > >advantage when I use the computer in my normal fashion.
> > >
> > >As noted, the range Steve measured is more than the matte papers
we use
> > but
> > >less than the glossy papers -- but only under ideal lighting such
as used
> > by
> > >the densitometers/spectrophotometers.  Using the spot meter on
prints in
> > >typical office or home viewing conditions, I get closer to a 4+ stop
> > range
> > >for both matte and glossy (glass framing would reduce that).  So,
my CRT
> > is
> > >really not that far off in terms of its display of the dynamic
range of
> > what
> > >we see in practice.
> > >
> > >Paul
> > >www.PaulRoark.com
> > >
> > >
> > Some of us will have nice pro monitors with shades at the sides to
> > reduce the reflections. I do have two IIyama Vision Master Pros that
> > come without shades. I have made shades for them with plastic
sheets and
> > black paper on the inside. Probably the cheapest addition that I
made to
> > improve the quality of the softproof but it really helps. The
SpectroCam
> > + Prove It do the rest. 5000K + 2.2 gamma. For color work and QTR B&W
> > now. Using the appropriate ICC profiles for monitor etc. Ambient light
> > is reduced when it gets critical. I wouldn't know how to improve
on that
> > without making the solution less universal. I never wear white or
black
> > shirts but that has little to do with the work :-)
> > 
> > In the end the print will  be judged, an old hair dryer (helmet
type) on
> > a box with large holes at the sides is a good investment too. Soft
> > proofing will speed up the printing process but like Bruce says do not
> > expect too much of it so speeding up the real proof is a good
thing too.
> > 
> > BTW, this must be the thread with the most text ever. Very few
practical
> > solutions.
> > 
> > Ernst
> > //
> > 
> > 
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