Digital BW, The Print

My guess is that it is a lost cause. Problem is, there is no constant since you change the paper, even if you use the same brand. I use my eyes and tweak for what seems to me a better print. Then the next week I might change my mind and tweak a little differently. It's all very subjective and all the objective measurements, numbers and so forth don't work for me. My eye is still in the darkroom over the fixer tray, guessing what the dry-down will give. So far, my CRT is telling me the truth in Photoshop, so using IP with PTAPP is working. Having said that, I'm running 2 4000's with NK 7 in 1 and split tone piezo

in the other. I just added some warm light black to the NK 7. All this to pull a print from a particular image.


Richard (Brooklyn)



So, here's the thing, After trying to learn how to fly the Boeing 747 
sing auto pilot,  I am now interested in finding out how to fly a 
pit-fire manually and I am wondering if anyone has any idea about 
eference material that could help me. 
Eugene Appert




-----Original Message-----
From: eappert <appert@...>
To: DigitalBlackandWhiteThePrint@yahoogroups.com
Sent: Fri, 1 Jun 2007 3:05 am
Subject: Re: [Digital BW] book



Yes thank you Richard Brooklyn I was not aware of this option. I 
gree being able to soft proof the grey profiles that Image print 
ffers is a considerable advantage. 
y experience has taught me that you either rely on our eyes or you 
ely on the numbers,  there are no other options. Ideally we should 
e able to rely on our eyes,  but there are so many obstacles between 
hat we  see on the screen and the proof we produce  from the file 
ata . 
At one point,  (perhaps this is the "dark ages" that Amadou refers 
o),  I attempted to follow and understand the chain of cryptic 
lgorithms that compress the data through  the work flow to the final 
rint, only to discover that the vast majority of them are so 
urreptitious that it is almost inconceivable to draw a direct 
orrelation between data and density unless you unplug the color 
anagement system and fly the plane yourself.  
Recently I have dedicated time and energy to correlating data and 
ensity in order to master this relationship. So far my best results 
re achieved by returning to the stone age techniques of drawing 
irect correlations between L* values as they are displayed in the 
reyscale workspace and densities as they are measured by a 
ensitometer.  For example  everyone knows that L*50 should produce 
8% reflective density but it never does. For me this is an 
nteresting question , why doesn't it?  If I print a monochrome patch 
f L*50 from a greyscale space which will be converted to a custom 
rofile via relative rendering I should produce 18% grey. But I 
on't, I never do. The problem is compounded when I try to maintain 
he precise resonance of shadow tones that I perceive on the screen 
etween say, L*4 and L*2 ( both of which are fictitious values that 
iether the printer nor the monitor can reproduce) but which BPC and 
hat ever other linearization algorithms  might transpose between the 
ile data and the printer profile conversion.  
So, here's the thing, After trying to learn how to fly the Boeing 747 
sing auto pilot,  I am now interested in finding out how to fly a 
pit-fire manually and I am wondering if anyone has any idea about 
eference material that could help me. 
Eugene Appert






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