Digital BW, The Print

Steven,
I should have made it more clear that I’m assuming a high-bit file to start
with, such as a “16-bit” image from a raw camera file, or a >8-bit film
scan.
For example, people that are drum scanning 5x7 film to make an 11x14 print
have huge amounts of information, both bit-depth and resolution.

I can’t overstate the difficulty in creating ink curves that allow one to
prove a workable difference exists between 8-bit and higher than 8-bit.
I imagine most people would find the difference mostly academic, but I enjoy
the pursuit of that sort of thing.  And yes, I do sometimes find it
unpleasant that I will spend time on such efforts, while my images are more
in need of my attention.

Best regards,
John Moody

-----Original Message-----
From: DigitalBlackandWhiteThePrint@yahoogroups.com
[mailto:DigitalBlackandWhiteThePrint@yahoogroups.com]On Behalf Of Steven
Karafyllakis
Sent: Sunday, November 12, 2006 11:47 PM
To: DigitalBlackandWhiteThePrint@yahoogroups.com
Subject: [Digital BW] Re: the times, they aren't a-changing-so can we start
over again?

John;

IJC is starting out with 256 shades, is it not? If it is indeed
subdividing into 1024 shades then it is doing something similar to
interpolation, not starting with a scan or digital file of 1024 or
even 512 and carrying that throughout the process to the printing
stage. In other words, you've given up a lot of info the first time
you break an image into 256 shades. And is the driver making use of
those 1024 shades, or is it re-interpreting to 256? Mind you, I
realize things like variable dot size, good profiling, and multiple
inks help a lot, but again, we're having to work progressively
harder to squeeze out the top 10% in a system that is inherently
flawed. My question is, is it possible to gain some 'head room' in
this direction?

Steven Karafyllakis


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