Digital BW, The Print

I'd be grateful for the benfit of other's experience with MIS 
Variable Tone inks. I've just converted an epson 1160 to a CIS system 
using MIS Variable tone inks (marketed here in the UK as Permajet 
VariTone Blax). I've previously used Lyson SG in an 1160(different 
machine) with acceptable results. But now I'm struggling to produce a 
good tonal range in darker areas, with blocking up of darker tones. 
One or two thoughts at this stage (before I throw the whole setup 
throught the window!):
1) How critical is color space setting in the print driver? (Lyson 
produced specific spaces for each papers and it was essential to use 
these settings for best effect)
2) What color space do other users print to?
3) Do I have to accept less 'punchy' prints with these inks?
4) Just how much individual tweaking do other users find necessary to 
apply in addition to Paul Roark's curves?
Thanks,
John Adey

John,

>...  epson 1160 ... using MIS Variable tone inks
>(marketed here in the UK as Permajet VariTone Blax). ...
>... blocking up of darker tones.

>1) How critical is color space setting in the print driver?

It affects the mapping of the grayscale to RGB image.  The sRGB setting
compresses the shadow tones relative to the AdobeRGB(1998).

It is very important that there be no color left in an image that was
originally or scanned as an RGB image.  That is, if at each level you don't
have R=G=B after conversion to RGB, the curves will be thrown off.

>2) What color space do other users print to?

The first set of curves I made used sRGB (the Photoshop 5 default).  The new
Ultra Tone curves use AdobeRGB(1998) (with all other "color settings" left
at the PS5 defaults).

What computer do you use?  The original 1160 curves are for the PC.

>3) Do I have to accept less 'punchy' prints with these inks?

If you were using dye inks, you may be noticing the lower pigment dmax.

>4) Just how much individual tweaking do other users find necessary to
>apply in addition to Paul Roark's curves?

Each printer is different.  That is why professional color printers mostly
use custom profiles, not "canned" ones.  So, for perfection, learn to tweak
the curves.  That said, typically the serious problems relate to the
settings.

Paul
http://www.PaulRoark.com

On 15/5/03 9:36 pm, John Adey <DigitalBlackandWhiteThePrint@yahoogroups.com>
wrote:

> I'd be grateful for the benfit of other's experience with MIS
> Variable Tone inks. I've just converted an epson 1160 to a CIS system
> using MIS Variable tone inks (marketed here in the UK as Permajet
> VariTone Blax). I've previously used Lyson SG in an 1160(different
> machine) with acceptable results. But now I'm struggling to produce a
> good tonal range in darker areas, with blocking up of darker tones.
> One or two thoughts at this stage (before I throw the whole setup
> throught the window!):
> 1) How critical is color space setting in the print driver? (Lyson
> produced specific spaces for each papers and it was essential to use
> these settings for best effect)

I'm using Varitone Blax in an Epson 1200 which is a six ink system but my
experience may be relevant.

The colour space is critical - if you don't use sRGB you get all manner of
blocked up shadows - I thought this wouldn't make a deal of difference but
it has proved otherwise - I've set up a Photoshop Action to assign the sRGB
profile from the greyscale original and load the Curve command with the
required Varitone false colour adjustment.

> 2) What color space do other users print to?

See above

> 3) Do I have to accept less 'punchy' prints with these inks?

Compared to what - I've been very happy with the Varitone system for 'punch'
given its use with papers like Lyson Standard Art and Somerset Velvet
Enhanced paper - gloss/oyster/semi-matt papers seem to be a non starter!

> 4) Just how much individual tweaking do other users find necessary to
> apply in addition to Paul Roark's curves?

Once the workflow was established correctly I found there was no need to
tweak or alter the curves at all. I produced a single file with four
21-step wedges and four copies of the same image treated to each of the
false colours for Cool, Neutral Cool, medium Warm and Warm before I saw that
all was well.

--
Regards
David Prakel

Centre of Britain PhotoWorkshops Partnership
www.photopartners.co.uk