Digital BW, The Print

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Greg"
<dfaprinting@...> wrote:

> Definitely find out what the maximum ink load is for this machine with
> your preferred paper. You might even ask them for the lab values of
> each ink, and the secondaries so that you can build the proper CMYK
> set up into Photoshop. You never know, they might actually know the
> answer to that question.
>

Greg,

If you are talking about inputting Lab values for R/G/B/C/M/Y/K into
Photoshop's Custom CMYK dialog boxes, it doesn't work properly. 
Unfortunately, Custom CMYK is an old, outdated module with a lot of
kludges, modifications, and kinks.  It "should" work this way, but it
doesn't.  I believe in an ICC color managed workflow, especially for
color work, but for B&W, Custom CMYK can be made to work pretty well.
 If they are going the color managed route with a good ICC press
profile (or an industry standard profile like SWOP, G7, etc) I'd still
encourage heavy GCR usage to reduce variability and color casts.  Or,
as you and others have mentioned, straight B&W or duotones.  I agree,
digital presses and laser units are a whole different ballgame, and it
is hit or miss.  

I like the idea of a duotone or tritone, but that may cost him extra
on a press due to special inks, setups, cleanup, etc.  Using Max GCR
with some undercolor addition is usually pretty safe for B&W, even if
the process control is less than stellar, since there is more black
ink compared to the CMY inks, and the black ink has nearly triple the
influence of any single CMY ink on press.  

Lou