Digital BW, The Print

In a message dated 4/28/2002 11:35:17 AM Eastern Daylight Time, 
garry@... writes:


> This sepia bizzo seems to be the hardest thing to get to grips with.
> 

Gary,
Your sepia is not only gorgeous, but your images are! But I'll bet you hear 
that all the time!
As far as the inkjet solution, I'm waiting for Cone to come up with a sepia 
version that will work with the cone rip. (Or anyone else????)
The only inkjet sepia that ever looked good to me was created by the sepia 
setting in an Epson 5500. (It was as easy as that!) But when I took the print 
near the window, it went from a beautiful golden sepia to a pea soup green 
without the croutons. If anybody wants to see metamerism that looks more like 
magic, check it out.
Maybe we'll get lucky with the new generation of Epson's about to be 
released.
By the way, the MIS VM might work great, but I'm not as advanced as I'd feel 
I should be to attempt that solution.
George J Kunze



[Non-text portions of this message have been removed]

Over a few years of producing faux sepias, I have found the best way for 
me is:

Start with a greyscale image about 10-20% darker than a normal B&W print 
would be..

Convert to duotone/quadtone by using my OWN (not ADOBE's) Sepia 
Quadtones...  I have created a few sets with varying tonalities..  Heck 
I even have some Ferritype and Cyanotype Quads I built..

Once I get the image converted to the correct Quad profile, I then go 
back into levels to get the new tonal ranges to fall where I want them..

Then, convert the whole thing to RGB..

Tweak the curves or levels...

Print in RGB..

This assures I get the tonal values I want, and should work with any 
properly profiled printer..

[Keith]
 
 

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[Non-text portions of this message have been removed]

George,

You wrote:

>...
>As far as the [sepia] inkjet solution, I'm waiting for
>Cone to come up with a sepia
>version that will work with the cone rip.
>(Or anyone else????)
>...

My draft FS-Sepia formula is posted in the Files section of this forum:

http://groups.yahoo.com/group/DigitalBlackandWhiteThePrint/files/

Go to "Inksets, Reviews & techniques," then "MIS FS."

I sent the formula to MIS, but they are keeping it on the shelf pending an
indication of some demand.

There are any number of sepia tones.  So, frankly, I can see just using a
color inkset and doing it that way.  However,  my interest was to have a
variable-tone version first.  The FS version was just a simple spin-off from
that, and I want to support the Piezo driver.

With the FS-Sepia the Piezo driver users have the full range of tones
available to them by mixing intermediate tones.  The warm tones that the
less-than-full-on sepia can produce are very nice.  In fact, the neutral
tone of the VM-sepia with the tweaked curves is the best neutral I've seen.

So, the "VM-Sepia" and FS-Sepia are more than just about sepia.  The gray is
the non-warming gray, and the full range of tones are available, with the
color balanced to, in my view, give a better set of tones than before.

The sepia tone I ended up with was set after studying my own samples of old
photos and a number of books.  I thought the most authoritative was a French
government sponsored History of Photography.  I figured they had the  money
to make the best reproductions.  One thing I think I saw was that the very
common albumen prints seem to become more yellow with age or light.

As to the tones that can be achieved with the VM-Sepia, I have stronger
sepia tones for the 1160 and 3000-PC curves.  Since those are the machines I
use, I've tweaked the curves for the inkset.  The 1280-Mac "cc" (cold cold)
curve will also give a stronger sepia than the normal cool curve that is out
there for most of the printers.

Paul
http://www.PaulRoark.com

Keith

What sort of ink are you using and what colours are you using with 
in the quadtones. My Duo attempt was terrible

Garry
> 
> Over a few years of producing faux sepias, I have found the best 
way for 
> me is:
> 
> Start with a greyscale image about 10-20% darker than a normal B&W 
print 
> would be..
> 
> Convert to duotone/quadtone by using my OWN (not ADOBE's) Sepia 
> Quadtones...  I have created a few sets with varying tonalities..  
Heck 
> I even have some Ferritype and Cyanotype Quads I built..
> 
> Once I get the image converted to the correct Quad profile, I then 
go 
> back into levels to get the new tonal ranges to fall where I want 
them..
> 
> Then, convert the whole thing to RGB..
> 
> Tweak the curves or levels...
> 
> Print in RGB..
> 
> This assures I get the tonal values I want, and should work with 
any 

> properly profiled printer..
> 
> [Keith]
>