Digital BW, The Print

Steve,

Just printed a Printer White Point Target from www.ZuberPhotographics.com 
with and without the Highlight Point Shift box checked. Without it checked, 
as you say, 255 is the same as the paper (Premium Glossy) and 254 can be 
seen to be different. With it checked, the whole of the printable area 
becomes glossier, and 255 is no different from that. The points 254 and 
below are still distinguishable from 255, so the linearity of these lighter 
points has been shifted. Presumably the highlight tonality slider does the 
same sort of thing - haven't tried that yet.

The Printer Black Point Target is also useful for checking the black 
end-point, which on this first print (using the Neutral/Darker default 
setting for B&W) looks rather high. I'll try some more with the other four 
Tone settings and the Shadow tonality slider.

As far as I am aware there is no BO setting (1 or 3) on the R2400.

For those who haven't seen the Advanced B&W settings on the R2400, there are 
four Color Tones to choose from Neutral, Warm, Cool, and Sepia; five Tone 
settings Darkest, Darker, Dark, Normal, and Light; and sliders for 
Brightness, Contrast, Highlight Tonality, Shadow Tonality, and Max Optical 
Density; as well as a Color Wheel for tinting, and the Highlight Point Shift 
checkbox already mentioned. So there are plenty of adjustments that can be 
made.

Bob Frost.

----- Original Message ----- 
From: "Steve Kale" <stevekale@...>


Ah. Thanks for pointing that out - I had simply overlooked it.  Yes the 4800
has the same check box.  I wonder how much the whites get clipped if you
check that box.  I'll have to play with it when I get a chance.  I have not
used it.  In the 256 step wedges I printed one can just see that there is
ink laid down at patch 254 and the difference between 252 and paper white is
easily discernible. The only issue I had ever noticed with gloss
differential on photo paper was when I had blown a small portion of an image
to pure white against a solid black background.  In that image, if I tilted
it severely (to an impractical viewing angle) I could see the gloss
differential between the paper and the surrounding ink and because it was in
the centre of the image it was noticeable.  I doubt I would find cause to
check that box - and I think I would rather control the clipping with a
curve or levels adjustment.  One would never use it for matte paper output.
I wonder if the images that Clayton saw were printed with this box
checked...