Digital BW, The Print

I have had several people ask about the best way to have the image on the
monitor match what they see on the print.  Not being an expert at this, I
searched several forums.  There were several threads on the issue, but I
think the best coverage of the issue is on the Inkjetmall website at:

http://www.inkjetmall.com/store/ts/21step.htm

Basically, the procedure used there is to avoid using embedded profiles and
make a custom dot gain curve.

Here is what I did after reading the forum comments and the Piezo web page
procedure, and it seems to be working:

(Note that I first use the Adobe Gamma routine in the Control Panel [of
Windows] to adjust the monitor.)

First, in Photoshop's Color Settings box (Edit, Color Settings), in the
"Color Management Policies" section, I set the Gray box to "Off" (as opposed
to "Preserve Embedded Profiles."

Next, I made a Custom Gray Workspace by visually matching a printed 21-step
test strip to the monitor while manipulating the curve in the Custom Dot
Gain box. This is also done from the Edit, Color Settings box.

Here are the specific steps:

- Check Advanced Mode in the top left of the Color Settings box.

- Go to Working Space, Gray.

- Scroll to Custom Dot Gain.  A "Custom Dot Gain" dialogue box should
appear.

- With the test print and the file that made the test print in front of me,
I moved the curve in the box until the monitor image matched the print.  I
got a rough match with about 72 in the 50% box and 91 in the 80% box.  I
suspect I can refine this, and it may vary with each setup.

- Having a good match, I named my new Custom Dot Gain curve and hit OK.

- Back at the Color Settings box, I saved this custom setup with an
appropriate name that refers to the workflow that produced the print I was
matching.  Since I have matched the curves I use the my Piezo output, I
named mine Pzo-VM-FS.  This name now appears at the top of the Color
Settings box.  (Different workflows and/or papers might use different
settings, so I may have several of these custom settings over time.)

- I then hit OK.

Now, with the image file on the monitor seems to  match the print fairly
closely.  Also, in checking the 21-step test file, with the eyedropper, I
note that the values in the file were not affected at all.

Now when I open existing files, I am asked whether I want to use the
embedded profile (usually Gray Gamma 2.2).  I check "Discard Embedded
Profile."  That way the new Custom Gray Dot Gain profile is used and the
monitor will match the print.

When opening an old file with an embedded profile, it is NOT a good idea to
check the box that says, "Convert document's color to the working space."
That changes the grayscale values and does not result in a monitor image
that matches the print.  The file will print differently that it used to.

I would appreciate any commentary on the pros and cons of this approach by
those who have used it or found a better way to match the monitor to the
print.

Paul
http://www.PaulRoark.com

--- In DigitalBlackandWhiteThePrint@y..., "Paul Roark" 
<paul.roark@v...> wrote:
<snipped for brevity>

> I would appreciate any commentary on the pros and cons of this 
approach by
> those who have used it or found a better way to match the monitor to 
the
> print.
> 
> Paul

Paul, I have been trying to match monitor to print for about eight 
years now, and my procedure is almost identical to yours, excepting 
that early pshop versions had different abilities to render dotgain 
curves and embedded profiles.

And I do first use a profiler to calibrate monitor- which is not the 
same as adjusting monitor for dotgain to match print. I used to use 
Adobe Gamma, but have gone to Photocal.

I would like to point out one important addition, and for me it is the 
most critical step: You must have a simulated viewing light source 
that you expect the print to be "typically" viewed under. This means 
type of light (tungsten, daylight, a mixture etc), spread of beam, 
intensity, distance from print while viewing, on and on. You can't 
choose an ideal light, there is no one standard. I think Cone used a 
light table rigged with a dimmer somehow... Then you need to have a 
fast acting switch so you can flick the light on and off easilily and 
fast.


Then you look at the print with the light ON, remember how it looks 
and flip the light off and turn to the monitor and after allowing a 
few seconds for the pupils to adjust examine monitor to see how well 
it matches the LIGHTED print- since this is how print will be viewed- 
under a light. It takes a little practice, but you get the hang of it 
after awhile. You keep going back and forth, flipping the light and 
take good guesses. People shoudn't be frustrated if they don't get it 
perfect first time- it took me a months to hone my first dotgain 
corrections. 

I totally agree with dropping the profile when opening up the file and 
that converting to workspace is really bad news, at least for your 
workflow- providing that the RGB space is set properly per your 
instructions and workspace for greyscale is set to gamma 2.2. This 
way, everything opened up in pshop that is greyscale that had it's 
profile stripped off will be in gamma 2.2 and convert to sRGB or Adobe 
RGB as needed.
Jim H.