Digital BW, The Print

I should have added that the L* is very very linear.  I now a little worried
about what I'll get on matte paper - remember the whole "QTR prints come out
flat" discussion.....If L* is linear from dMin to dMax then we will have
this problem again.


> From: Steve Kale <stevekale@...>
> Reply-To: <DigitalBlackandWhiteThePrint@yahoogroups.com>
> Date: Fri, 03 Jun 2005 19:17:35 +0100
> To: <DigitalBlackandWhiteThePrint@yahoogroups.com>
> Subject: Re: [Digital BW] Re: Holy Moly 4800!
> 
> The first column is Lab's L* a measure of luminosity (scale 0-100) - lower
> equals darker.  The last column translates this into a density.  The two
> middle columns are Lab's a* and b* which tell you you how red or green and
> how blue or yellow a colour is.  (Red and green, and blue and yellow, are
> opponent colours - they are mutually exclusive.  Something can't be red and
> green at the same time.)  So these tell you the hue shift - ie how neutral
> the patches are.  Ideally, a*=b*=0 for perfect neutrality.  What this
> basically says then is that the Advanced B&W mode is very very neutral -
> although as we head towards paper white we pick up some of the blue which is
> in the underlying paper (remember it was printed on ISP).
> 
> 
>> From: chipcarterdc <chipcarterdc@...>
>> Reply-To: <DigitalBlackandWhiteThePrint@yahoogroups.com>
>> Date: Fri, 03 Jun 2005 18:06:15 -0000
>> To: <DigitalBlackandWhiteThePrint@yahoogroups.com>
>> Subject: [Digital BW] Re: Holy Moly 4800!
>> 
>> No offense, but is there a way to summarize this in words for those of us who
>> don't do step wedges and measurements?  I have no idea what tehse
>> numbers mean.
>