Digital BW, The Print

> > Take a very careful look at the the information at 
> > http://www.paulroark.com/BW-Info/4K+.pdf 
> > including the materials at page 4.  ...

 
> 
> ... understood, so I'm just going to choose 5K+ and LLC and
> LLM,

The LLC is much more important than an LLM.  LC, particularly in my 
old 7500, was by far the limiting factor in smoothness.  The light 
light cyan is also an easy mix with MIS LC and glop at 1:1.  

LM, however, is not very visible -- that is, does not cause much 
dottiness.  If you stay with full strength LM, it'll allow you to use 
Epson OEM LM, which I think may be worth doing.  My fade tests showed 
it to be significantly more lightfast than the MIS version.

> or 6k+ and blue.

There is no single blue ink that works well.  The R800 blue is like 
grape juice in color -- way too magenta to offset the yellowness of 
the carbon.  (Danial Smith's Indanthrone blue is the only pigment 
I've found that works as a single-pigment blue ink, but it needs a 
pigment company to process it correctly.)


> last quetion, slightly OT (perhaps)
> 
> "I use Gray Gamma 2.2 for my working space. So that prints 
> edited in this working space match the prints through IJC, 
> I use an adjustment layer that coordinates the view on the
> monitor with the IJC output. The Photoshop curve
> for this layer is in the above files along with the profiles."

> I used this "trick" and it works perfectly with files that 
> are totally postproduced or shooted by me, but if I get a 
> file from someonelse it's hard to match what he saw in his 
> monitor (good calibrated monitor, as mine): I suppose cause
> the default grayspace is dotgain 15% and not graygamma 2.2,
> but anyway how can I tell them to operate
> to give me a correct file (ie tell them to set default 
> space to gg22), or am I suppose to work first with dotgain
> 15% and reach the same visual appearence moving then to 
> graygamma 2.2?

Note that there is nothing magical about Gray Gamma 2.2.  I use it 
because it seems to be the usual default with the files that I work 
with.  If I printed only through rips with linear outputs like QTR or 
IJC, I'd probably just use the QTR gray matte ICC in soft proofing.  
In fact, I do use that when I work with files that did not come in as 
GG 2.2 files.

I think there are a number of ways to get a file with a different 
working space to the view that you need for printing.  The first 
thing, of course, would be to make sure the file is in high bit depth 
so that switching things around does not lose significant information.

Assuming you can't convince everyone to use the same space, you could 
also come up with an adjustment curve to switch, or you could convert 
spaces.  You might keep one copy in dot gain 15% as a reference and 
work up another copy in the space you prefer or use QTR's matte gray 
ICC for soft proofing the working copy.  To be sure you know what the 
person who sent you the file saw, I'd be sure to keep that original 
file as a reference.

Paul