Digital BW, The Print

Hi

I probably can't offer you much help. But, I've been messing with making digital 
negatives with a 2200 for silver printing for a couple of years now. And I have encountered 
enough pitfalls that I've already quit several times. So, I have some comments.

With regard to the density crossover you are seeing. First make sure that the reversal isn't 
related to the positioning of the steps on the printed negative. I have found that I get 
significant variation in ink density with location on the page. It's possible that the 
arrangement of the steps on your 101 step-wedge is such that a an area on the page of 
improper ink densities makes it look like a crossover. For example, I am currently using a 
129-stepwedge that goes from the highest ink density step in the upper right corner of 
the 8x10 page. The steps reduce in density in twelve steps from right to left with 12 steps 
per row and proceeds in 11 rows to lowest density near the bottom center of the page. My 
printer apparently produces a vertical band of improperly reduced densities (a dip in 
density of about 0.04 at the band center). The band is about 2-3 inches wide and affects 
the medium to low densities the most. The result is I get a plot of densities with a very 
patterned oscillation. And a different arrange of the steps in the wedge could lead to some 
very wrong conclusions.

The above observations were made when I was workiing with color or spectral density 
negatives on 
Pictorico Glossy Film paper. The color I was using was R=255, B=G=0. About a year ago 
I also tried Glossy Film with Black ink negatives. I quit after finding an even more 
pronouced ink density variation (about .08 density). I didn't pursue the problem but as I 
remember the density seemed to vary from corner to corner in both x and y. I have since 
read that the Epson black ink is a real trouble maker, so I decided to try the spectral 
density approach (again) to avoid the use of the black ink.

After all that, I do have a recommendation.

 --- If you are going to do silver prints only, try the glossy film paper with spectral density 
negatives. I have found the glossy film apparently takes the ink more smoothly than OHP 
and the spectral density negative (at least with the colors I am using) yields a much more 
well behaved adjustment curve. I think that "Adjustment Curve" is Dan Burkholder's 
terminology. Mark Nelson uses "Process adjustment Curve".

I have tried QTR as well as the Bowhaus OPM rips and came to the same conclusion that 
you did.

I would certainly appreciate hearing from you about the success or failure of your use of 
the 4000. I have been considering replacing my 2200 to solve the ink density variation 
problem, but have been reluctant not knowing if the 4000 might have the same problem.

Doug Nielsen




--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "koloshor" <wiz@n...> wrote:
> 
> I posted this on photo.net, too, but the chances of an answer are much
> better here.
> 
> I'm having a devil of a time getting a decent negative out of an Epson
> 4000.
> 
> I make a 101 square "step wedge" as part of my curve building process.
> My first negative was on Pictorico OHP film, with the printer set for
> Epson Premium Glossy Photo Paper (same way I set the 2200 and the
> 7600). The step wedge is printer with color management turned off on
> the printer driver. I'm getting a density crossover in the darkest
> parts of the negative, from 75% to 100%. The curve increases in
> density, properly, from 0% to 70% black. At 75%, it levels off, at
> 80%, density decreases until it's back to the same level it was at
> 70%, then it begins increaseing from 85% to 100%.
> 
> I tried a red negative (this is for multigrade paper, sensitive to
> green and blue light, red blocks green and blue) and got a monotonic
> increse in density from 0% to 100% (as it should be) but the negative
> density range from 0% to 100% isn't enough to get a full DMIN to DMAX
> range out of the Ilford multigrade, even at contrast grade 4. I don't
> even want to be at 4, the high contrast makes the digital negatives
> look "gritty". On the 2200, I have enough contrast range (using more
> conventional black negatives, not red) to get a full DMIN to DMAX with
> a curve I built for contrast grade 1.5. That's butter smooth, with no
> grit.
> 
> Anyone have an idea for the next step? Is there another media setting
> that eliminates the crossovers (I don't want to make 12 test negatives
> and print them all trying to find out).
> 
> QTR really isn't an option, the Epson drivers have a dither that makes
> a much better digital negative.