Digital BW, The Print

Hi Paul; 

your upcoming 220 arrangement is exactly what I've been using in the 
R1800, thoughof course I also have both MK and PK with that printer. 
I recently tried a curve using the PK as a dark LK (DLK?) for matte 
paper, I like it a lot.


> 
> I'm going to put LC, LM and Y, (along with K, LK and LLK) in a 220 
at Golden
> Trout workshop.  I think this arrangement allows the full range of 
what most
> will want and be very flexible.  I think we'll end up generating a 
lot of
> profiles that will be useable in a wide range of printers with these
> standard inks.
> 
> How are you generating your deep sepia?

My approach so far has been to blend a base full-ink sepia curve with 
a second toning curve made of only M and Y. You can only add about 15-
20 percent in toner before you start losing too much density, but 
sepia doesn't need serious density anyway. With the new version of 
QTR, a third curve, and split-toning, you can produce some really 
nice chocolaty shadows shifting up to gold highlights that I just 
love. My thanks to Roy and Stephen for adding that capability to QTR!



Steven Karafyllakis