Digital BW, The Print

Check out this link for sharpening -
http://www.thelightsrightstudio.com/TLRSharpeningToolkit.htm

I always sharpen after resizing/resampling and at that point I use 
two sharpening layers, one some type of high pass, and the other 
some type of usm - both with edge masks (capture in the above 
toolkit).  Both types of sharpening have completely different 
results so I like to compare the two and maybe mix them depending on 
the image and especially the paper.  The matte papers seem to be 
able to take a bit more sharpening than the glossy papers (in their 
various incarnations) without looking over done.  I would print a 
test that uses the same slice of an image with various sharpening 
methods/amounts applied to see what works best with the paper you're 
looking at.  

I've got 2@250G so I think you're more than fine for a while!!

Brian
http://www.brianchapmanphotography.com

  


--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "chriskjezp" 
<chriskresser@...> wrote:
>
> Brian/Clayton,
> 
> I also forgot to ask about sharpening.  I read Clayton's workflow 
for BO article, and unless 
> I missed it I didn't see anything about sharpening.  I've read a 
few different things on the 
> subject, and I know it depends upon the type of sharpening, but 
I've always sharpened 
> after resizing the photo to print dimensions.
> 
> In terms of the color/greyscale question, I guess the best way to 
find out is just to 
> experiment.  I like the idea of saving an RGB version which would 
allow me to make very 
> specific tweaks to the tone in ways that I'm comfortable with, and 
then also saving the 
> flattened greyscale version prepped for proof.  I'm not too 
worried about file space at the 
> moment, since I'm an amateur fine art photographer (not prolific) 
and I've got 2 500 GB 
> drives to store the files on.
> 
> Thanks again for all of your help - it is sincerely appreciated.
> 
> Chris
> 
> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Brian 
Chapman" 
> <brianechapman@> wrote:
> >
> > Chris,
> > 
> > As far as I know Clayton's main reason for converting to 
grayscale 
> > mode right after the conversion is disk usage, but I don't want 
to 
> > speak for him (just in case I'm wrong).  As far as preparing the 
> > file for printing, if there are any other disadvantages to 
waiting 
> > until the end of the workflow I haven't run in to them.  You're 
> > right though, keeping the image in RGB allows you to go back at 
any 
> > point in the process and tweak the conversion.  
> > 
> > I think for the most part that you can duplicate most things 
that 
> > are done in the conversion process afterward using levels or 
curves, 
> > but there are times when modifying the relationship between the 
> > color channels is the best way to go.
> > 
> > Brian
> > http://www.brianchapmanphotography.com
> > 
> > 
> > --- In 
DigitalBlackandWhiteThePrint@yahoogroups.com, "chriskjezp" 
> > <chriskresser@> wrote:
> > >
> > > Thank you very much, Brian.  
> > > 
> > > I'm fairly experienced with B&W conversion methods in PS so I 
am 
> > relieved to know that I 
> > > can continue working in that fashion and change to greyscale 
just 
> > before printing.  I like to 
> > > use Hue/Saturation and Selective Color layers just underneath 
the 
> > B&W conversion layer 
> > > (gradient map, channel mixer or whatever) to gain more control 
> > over the B&W tones.  
> > > 
> > > But is there any disadvantage to working this way?  Clayton 
Jones 
> > recommends converting 
> > > to greyscale directly after doing the B&W conversion of a 
color 
> > file and then doing levels, 
> > > curves, etc. in greyscale mode.  Doing it that way I'd lose 
out on 
> > all of the increased 
> > > control I have over the B&W image using layers that are only 
> > possible in RGB space.
> > > 
> > > Best,
> > > Chris
> > > 
> > > --- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Brian 
> > Chapman" 
> > > <brianechapman@> wrote:
> > > >
> > > > Chris, 
> > > > 
> > > > This tutorial is an excellent introduction to a couple of 
the 
> > most 
> > > > popular methods used to convert an image to black and 
white.  
> > > > 
> > > > http://www.cambridgeincolour.com/tutorials/color-black-
white.htm
> > > > 
> > > > Any of these methods can be made more flexible by adding 
> > > > additional 'conversion' layers (channel mixer, hue layer) 
and 
> > using 
> > > > layer masks to allow only portions of each conversion layer 
to 
> > show 
> > > > through.  Different methods can also be combined.  I am 
> > currently 
> > > > writing an article/tutorial describing ways to improve 
> > flexibility 
> > > > in some of the methods mentioned in the link (I'll post it 
here 
> > when 
> > > > I'm done).  Email me offline if you want the first draft or 
have 
> > any 
> > > > questions, I'm happy to help.    
> > > > 
> > > > In my workflow I choose to convert to grayscale mode just 
before 
> > > > printing because I like to work on the image as a black and 
> > white 
> > > > RGB image so I can make adjustments to the conversion as 
well as 
> > > > other tonal adjustments.  Plus, if you're going to add a 
toning 
> > > > layer (maybe for the K3 with color toning) later you'll need 
to 
> > > > convert back to RGB to do so.  
> > > > 
> > > > Anyway, I know this was slightly off the printing topic but 
it's 
> > an 
> > > > important part of getting good results in print form!
> > > > 
> > > > Brian
> > > > http://www.brianchapmanphotography.com
> > > > 
> > > > 
> > > > --- In 
> > DigitalBlackandWhiteThePrint@yahoogroups.com, "chriskjezp" 
> > > > <chriskresser@> wrote:
> > > > >
> > > > > Clayton & Paul,
> > > > > 
> > > > > Thank you so much for your thorough replies.  I'm really 
much 
> > > > closer to understanding 
> > > > > how this works, thanks to your generous help.
> > > > > 
> > > > > It sounds like starting with an r220 and a variable tone 
MIS 
> > ink 
> > > > set, along with Paul's ICC 
> > > > > profiles and toning curves, is a good way to get my feet 
wet 
> > and 
> > > > learn the ropes.  And it 
> > > > > sounds like this method can produce very good prints.
> > > > > 
> > > > > Quick question: I'm assuming I can also use these ICC 
profiles 
> > to 
> > > > do a soft-proof of the 
> > > > > print in Photoshop.  Is this correct?
> > > > > 
> > > > > I guess I'll continue to use my Canon MP800 for heavily 
> > > > toned/colorized B&W prints until I 
> > > > > can afford a 2400.  At that point I'll have more flexible 
> > option, 
> > > > where I can use RGB/color 
> > > > > workflow when printing colorized B&Ws and the 
ABW/greyscale 
> > (or 
> > > > QTR RIP) mode when 
> > > > > I'm printing "classic" and warm/cool toned B&Ws.
> > > > > 
> > > > > Thanks again,
> > > > > Chris
> > > > > 
> > > > > --- In 
DigitalBlackandWhiteThePrint@yahoogroups.com, "Clayton 
> > > > Jones" <cj@> wrote:
> > > > > >
> > > > > > Hello Chris,
> > > > > > 
> > > > > > >I've read over most of your webiste Paul, and also all 
of 
> > the 
> > > > > > >articles on Clayton's website. 
> > > > > > >I'm not at all sure at what point in the B&W conversion 
> > process 
> > > > > > >(from my color RAW file) I should convert from RGB to 
> > > > greyscale.  
> > > > > > 
> > > > > > 
> > > > > > I just recently revised article #9 (the 2400 workflow) 
> > > > > > 
> > > > > >    http://www.cjcom.net/articles/digiprn9.htm
> > > > > > 
> > > > > > and added more detail to the section on converting to 
BW.  
> > > > Basically
> > > > > > the first thing is to apply whatever methods you want to 
> > remove 
> > > > the
> > > > > > color while in RGB, and then change to grayscale mode.  
At 
> > this 
> > > > point
> > > > > > the image is ready for any levels, curves and other 
typical 
> > work 
> > > > as a
> > > > > > BW image.
> > > > > > 
> > > > > > 
> > > > > > >Another question that may help me decide on a printer: 
with 
> > the 
> > > > K3 
> > > > > > >printers (2400 in particular) is it recommended to also 
use 
> > a 
> > > > > > >greyscale workflow for B&W prints, or is it possible to 
get 
> > > > good 
> > > > > > >prints using an RGB workflow and applying any toning in 
RGB 
> > > > color 
> > > > > > >space...
> > > > > > 
> > > > > > I think it's possible to get good prints that way, but 
they 
> > of 
> > > > course
> > > > > > will have a different look and feel.  The ABW mode uses 
> > > > primarily the
> > > > > > three blacks with colors added only as toners, so the 
tones 
> > are
> > > > > > limited to a warm/cool range.  If you wanted, for 
example, a 
> > gold
> > > > > > colored tone, or any other hue outside of the grayscale 
> > warm/cool
> > > > > > range, then the RGB/color controls approach would be 
> > required.  
> > > > When
> > > > > > making BW prints with ABW there is no advantage to 
keeping 
> > the 
> > > > image
> > > > > > in RGB.  All you have is images that are three times as 
> > large.  
> > > > When
> > > > > > you switch to grayscale the image becomes 1/3 it's 
former 
> > size.
> > > > > > 
> > > > > > 
> > > > > > >How about the 2200 in this regard (though it uses the 
UC 
> > inks 
> > > > > > >rather than K3 and is thus not as "archival")?
> > > > > > 
> > > > > > Yes, exactly.  The K3 is much better in that regard.   
The 
> > K3 
> > > > printers
> > > > > > are a big step forward in technology over the 2200 (and 
> > 1280, 
> > > > 220 and
> > > > > > the rest) for several reasons: better longevity, less 
> > bronzing 
> > > > and
> > > > > > gloss differential on glossy papers, three blacks for 
much 
> > > > better BW
> > > > > > prints, and the driver has essentially what is a built 
in 
> > semi-
> > > > RIP
> > > > > > with it's ABW system.  ABW uses primarily the three 
blacks, 
> > > > adding
> > > > > > color inks as toners to create the warm/cool tone you 
> > specify 
> > > > with the
> > > > > > controls.  Using a 3rd party RIP with the 2400 (such as 
QTR) 
> > > > gives
> > > > > > even greater control over the inks (for example, 
eliminating 
> > the
> > > > > > Yellow from the toning mix).
> > > > > > 
> > > > > > 
> > > > > > Regards,
> > > > > > Clayton
> > > > > > 
> > > > > > 
> > > > > > Info on black and white digital printing at    
> > > > > > http://www.cjcom.net/digiprnarts.htm
> > > > > >
> > > > >
> > > >
> > >
> >
>