Digital BW, The Print

Hi Roy, 

 

Hope your holidays are going well.  I have my older daughter (Elaine) home
for a few days before she's off to Washington D.C. for a quarter.  So, aside
from spending part of Xmas day in the ER with my elderly mother (a regular
event for her), it's been good.

 

On the B&W front, with respect to the issue below about the 3800 black
prints, don't you have a program that can decode the driver output such that
you can see exactly what commands the driver is sending to the printer?  If
so, it would seem Clayton is simply wrong. 

 

As to my attempts to get down the learning curve on QTR, is there some
write-up somewhere that explains how the curve creation algorithm works?
I'm sort of feeling my way along, just seeing what happens with different
approaches.  If I'm doing something that is clearly a mistake, I hope you'll
let me know.

 

Nonetheless, my experience has been very positive.  There are, of course,
some things on my wish list (like "color managed" linearization similar to
Create ICC), but I suspect you get requests for additional features from
everyone. 

 

One thing that I've become interested in is going back and exploring the
R2-V idea more.  I understand better where you're coming from now.  A
neutral/cool channel, carbon channel, and red-carbon toner mix (in Y
probably) makes a lot of sense.  My experience with QTR is now such that I
would just ignore the Epson driver performance and make the inkset be
strictly for QTR.  In fact, I'd want to rather explicitly avoid the Clayton
slider approach.  That approach was so bad I don't want any connection with
it. 

 

As to the red toner, I'd take a bit of a different approach.  First, I had
previously mixed a toner that gave a 45 hue and was the R2 light carbon
density.  I think that is a mistake.  I think the density ought to be the EZ
density, which is geared to allow the ink to carry the image all the way to
the black.  The R2 light inks assume a dark gray cross-over.  The only
reason I made the R2 yellows the same as the light inks was for simplicity.
The Y position is too light, and my compromise there has come back to bite
me in several respects.

 

Second, I think the red toner ought to be stronger than needed if it were to
be use by itself.  Wouldn't it make more sense to have its strength such
that for the 45 hue one would use it with the blender and with the carbon
profile?  I'm thinking we'd probably get better quality out of the R220/200
if the red toner ink was not out there by itself.  So, while some might want
to use it by itself for a real reddish print, the tones we'd be looking for
would always be mixed/blended with a carbon profile.  

 

Does this make sense to you?  

 

Paul

 

 

 

 

 

  _____  

From: DigitalBlackandWhiteThePrint@yahoogroups.com .
Subject: [Digital BW] Re: 4800/3800 "Black" setting is not BO

 

--- In DigitalBlackandWhit
<mailto:DigitalBlackandWhiteThePrint%40yahoogroups.com>
eThePrint@yahoogroups.com, "Clayton Jones" <cj@...> 
wrote:
>
> .. It's
> definitely not a BO print. I can see what looks like 3 different
> shades of black and gray: 

 


Are you sure it's not just different dot sizes of K ink?
I haven't seen prints but trying out the driver I got K-only output.

Roy



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