Digital BW, The Print

> Hi Tyler,
> The only problem is that the only way you can do that is to find the gamma
> of the printer/ink/paper and stay in that space forever.  If you change any
> part of that you have to adjust gamma anyway.  So my strategy has been to
> keep to a standard grayscale working space for all editing and convert to
> the printer's gamma at print time.  Since I am using a softproof process I
> stick with a standard gamma space for the grayscale editing, convert to RGB
> (of the same gamma), and then separate the channels with an RGB curve using
> the quadtone preview to match the tonal range of original grayscale.  In
> other words, since I don't use a final gamma move in the final print process
> since I build it into the RGB curve.  Then my RGB curve is saved for the
> particular ink and paper combination with the file (turn it on and off at
> print time).  Same as a last minute gamma change in the suggested process
> but my RGB curve and gamma change are all done together.

So in the case of using Paul's method, since his separation curves are
designed around EAM, you might not use a custom gamma space when using that
paper/ink combo, but you'd use the custom gamma space as a transfer function
when using different papers? How is it different from a transfer function
BTW?
 
<snip>

> Not sure which standard grayscale space is really the best for most printers
> - or for most monitors, but Blatner and Fraser recommend 2.2 for RGB mode
> for perceptual uniformity in editing and since I am going through RGB space
> I use a gamma 2.2 grayscale working space to edit.

So does Bruce F., BTW.

> ......since there are many paper types
> there will always have to be some way to get the file into a precise printer
> space - even if just to compensate for small dot gain changes and (if you
> use an RGB grayscale file with no profile) the only quick way to do that is
> with a custom RGB space at print time.   The best way to do that is with a
> custom RGB profile and a softproof (which holds true with either grayscale
> printed to CMYK inks or to quad inks) but the original process under
> discussion didn't use one so this RGB gamma tweak at print time was the
> suggested alternative.

Any tips on setting up an RGB softproof for Quad printing that takes Paul
Roark's separation curves into account? I don't know how familiar you are
with his workflow, but it's "complicated" by the fact that he is devoting
the yellow ink purely to distributing, or holding back, cool tone across all
but the darkest 10% or so of the print (that about right Paul?).

I could e- you a set of his curves if you're ever interested in looking at
them.

Todd