Digital BW, The Print

Sonny

I have now had the chance to use the 4800 on matte paper.  I don't bother
with the shadow tonality control as you have much better control available
in PS.  I have no problem getting good visual separation on a 21 step wedge.
This is with a No Colour Adjustment workflow (ie Same as Source).  You have
to be very careful looking at something on the display vs print when you
don't have a soft proof up.  A lot of factors come to bear: the calibration
of the monitor, the monitor profile, the monitor's black point (almost
always much better than ink on matte paper), lighting of the print etc etc.
The narrower the dynamic range of the medium the smaller the increments in
tonality from one step to another.  It is difficult to suggest what might be
going wrong in your case.

Steve


> From: Sonny Taylor <st@...>
> Reply-To: <DigitalBlackandWhiteThePrint@yahoogroups.com>
> Date: Fri, 03 Jun 2005 20:16:29 -0000
> To: <DigitalBlackandWhiteThePrint@yahoogroups.com>
> Subject: Re: [Digital BW] 'Color management' in PS or Advanced B/W driver[Mac,
> R2400]
> 
> Steve,
> 
> Heavyweight matte paper, Matte Black ink on a 2400. I cannot quantitatively
> measure the 
> results, but I am comparing the density on my monitor with the print just
> using my eyes. 
> With CM on with Advanced B/W driver, the print corresponds to my monitor. When
> I turn 
> CM off in PS, I loose 1/4 of the strips which all become dense back.
> 
> And, the Shadow Tonality control in the Advanced B/W driver makes very little
> change 
> from -25 to +25 (with or without CM in PS)
> 
> Strange, but the results using the wrong way (CM ON in PS) correspond great
> with my 
> monitor.
> 
> Sonny
>  
>