Digital BW, The Print

>QTR Create ICC finally takes >knowledge that has been available to >the 
>colour
>world for many years and applies it to >B&W.  This is fantastic.

Could you or someone else tell me what equipment (hardware and software) is 
needed in order to use this feature of QTR? I keep reading about i1. Is that 
the only thing that can be used or is it the best thing or are there other 
things that can be used equally well (and that hopefully might cost less 
than i1)? In particular, can a plain old reflection densitometer be used or 
is something more than that required? Finally, once you're set up to use ICC 
Create Profiles in QTR, can it be used to create color profiles as well as 
b&w?


----- Original Message ----- 
From: "Steve Kale" <stevekale@...>
To: <DigitalBlackandWhiteThePrint@yahoogroups.com>
Sent: Monday, October 24, 2005 6:27 AM
Subject: Re: [Digital BW] ICC v. Transfer Function in Epson driver


Tyler

It finally works very well.

I am not at all refusing to acknowledge the accomplishments of so many.
Rather I am praising the very significant progress this represents.  Other
than Imageprint's ICC approach, this is the first "colour-managed" approach
to B&W tonal range management discussed on this forum in the last three
years.  There have been expressed desires, hopes and wishes - but no
implementation.  Yes we have used colour management tools to do proofing but
not for the much more critical management of tonal range.  In the last three
years (other than the discussion building towards QTR Create ICC) there has
been no progress made in the dynamic management of tonal compression other
than to suggest people do an "s-curve".

QTR Create ICC finally takes knowledge that has been available to the colour
world for many years and applies it to B&W.  This is fantastic.

My point was simply to say that even if one didn't have the ability to
deploy a general, colour-managed approach such as QTR Create ICC, one can
achieve the same result with as much rigour for any given workspace by
deploying a "smart(er) linearization".  It's a pity we didn't.  But in the
end we leapfrogged to a workflow (QTR ICC) that works for any workspace -
all's well that ends well.

Congratulations Roy and thanks very much for all the hard work over the last
year.

Steve


> From: Tyler Boley <tyler@...>

>
> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, Steve Kale
> <stevekale@b...>
> wrote:
>> ...For at least the
>> last three years this is where the B&W community largely stopped (with a 
>> few
>> notable ICC colour managed approaches).  What's more, those that 
>> maintained
>> a policy of linearising L* provided no attempt to rationalise the tonal
>> mapping from even just one workspace to that of the printer.  I am glad 
>> we
>> now have available to us an affordable solution systematically and 
>> sensibly
>> managing differences in tonal range.  We are finally making use of what's
>> been known to the colour community for quite some time.
>>
> This does little to aknowledge the accomplishments of so many that have
> contributed to
> the current state of the art. I became aware of much of this in 1998, and 
> many
> were
> probably involved way before. Contributors as diverse as Dan Culbertson, 
> Jon
> Cone, our
> own Ernst, up to Carl and Roy have been implementing color management, 
> and/or
> using
> color management tools to move forward digital monochromatic printing. 
> Many
> others
> that fail to imediately come to mind. I myself made my own CMYK profile 
> for a
> quad ink
> set, that partitioned, and previewed, back in 2000 I believe, of course
> because of the help
> of many of those people.
> This stuff isn't new.
>
> In the course of this thread though, I still don't have a good idea of 
> what
> you are trying to
> do. All this stuff works, we can work up a file on the computer, and print 
> it
> getting
> predictable result on paper. I'm not sure how much more we can ask for in 
> the
> workflow
> area. What is not working for you?
> T




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