Digital BW, The Print

I have uploaded two profiles to make extremely warm sepia prints with the 
2200 using OPM.

You can find them in our Files section inside the IJC/OPM folder.
 

These have been made for EAM paper and the matte black (MK). They 
produce a respectable 1.71 dmax.

 Since the white of that paper clashes so much with the warm sepia, I would 
advise that you tint the paper in a separate pass using these profiles and a tint 
anywhere from  5-20% (tint-to-taste, the three Ts of toning).  Anyone with IJC 
can have fun using these as a basis to produce variations, of course. 

For the record: the automatic linearization feature of IJC was NOT used for 
these since it doesn't distinguish between gray and toner inks. They were 
linearized "by hand" to within +-0.01 of the aims. Of course, that may only hold 
true for my printer and only on that day!...


These do use a fair amount of yellow ink along with magenta in the mix - in 
case anyone has concerns about either metamerism or longevity. They were 
initially made to match a vintage print that was being restored - which gives 
you an idea of the kind of tone I was after. 

There are 2 profiles:
One ends with   _xSEP_01.6 and is the "normal" profile - marked with an x for 
extreme sepia (!) .
The other marked  _xSEPy1_01.6  is marked with a y1 to indicate increased 
yellow.  I was going to make variations with even more yellow, but found that I 
was already in overkill territory.

These two together can be blended nicely in OPM to fine-tune the degree of 
yellow.

Just in case anyone is in the mood for that extra-antique look!....


Antonis

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Antonis 
Ricos" <antonisphoto@y...> wrote:
> I have uploaded two profiles to make extremely warm sepia 
prints with the 
> 2200 using OPM.
> 
> You can find them in our Files section inside the IJC/OPM 
folder.
>
> For the record: the automatic linearization feature of IJC was 
NOT used for 
> these since it doesn't distinguish between gray and toner inks. 
They were 
> linearized "by hand" 

Thanks for the profile, Antonis. Could you explain the 
significance of the last (above) statement? Would automatic 
linearization by IJC have tended to give a profile that was 
too-neutral (or not uniformly sepia)?
Also, what version of OPM was used?
Phil

Greetings,  I've been fooling around with trying to get a somewhat 
close match to a cold toned (selenium) print.  My method so far has 
been to work in duotone or tritone from RGB and then back to RGB 
because I'm printing with colour ink.   My ink is Lysonic archival 
and the paper I'm using is arches cold press 140lb. natural white. 
Just wondering if anyone else has any suggestions on getting a cold 
toned print with colour ink.
thanks
Larry

Hi Larry,
 You may want to try some of the canned duotones in PS6 or 7. The 
purple ones in particular. If they aren't quite right use the curve 
that comes with them to adjust it. This shud at least give u a 
reasonable place to start.




                               Tim









--- In DigitalBlackandWhiteThePrint@yahoogroups.com, Larry Ostrom 
<ostrom@r...> wrote:

> Greetings,  I've been fooling around with trying to get a somewhat 
> close match to a cold toned (selenium) print.  My method so far has 
> been to work in duotone or tritone from RGB and then back to RGB 
> because I'm printing with colour ink.   My ink is Lysonic archival 
> and the paper I'm using is arches cold press 140lb. natural white. 
> Just wondering if anyone else has any suggestions on getting a cold 
> toned print with colour ink.
> thanks
> Larry

Also on luminous Landscape michael Reichman has a cpl of canned 
duotones. I found them a bit too warm but it wud also give u another 
point of reference.



                               Tim











-- In DigitalBlackandWhiteThePrint@yahoogroups.com, Larry Ostrom 
<ostrom@r...> wrote:

> Greetings,  I've been fooling around with trying to get a somewhat 
> close match to a cold toned (selenium) print.  My method so far has 
> been to work in duotone or tritone from RGB and then back to RGB 
> because I'm printing with colour ink.   My ink is Lysonic archival 
> and the paper I'm using is arches cold press 140lb. natural white. 
> Just wondering if anyone else has any suggestions on getting a cold 
> toned print with colour ink.
> thanks
> Larry

http://www.luminous-landscape.com/tutorials/duotone.shtml

  ----- Original Message ----- 
  From: c2c_ic 
  To: DigitalBlackandWhiteThePrint@yahoogroups.com 
  Sent: Friday, July 04, 2003 10:04 AM
  Subject: [Digital BW] Re:selenium profiles


  Also on luminous Landscape michael Reichman has a cpl of canned 
  duotones. I found them a bit too warm but it wud also give u another 
  point of reference.



                                 Tim











  -- In DigitalBlackandWhiteThePrint@yahoogroups.com, Larry Ostrom 
  <ostrom@r...> wrote:
  > Greetings,  I've been fooling around with trying to get a somewhat 
  > close match to a cold toned (selenium) print.  My method so far has 
  > been to work in duotone or tritone from RGB and then back to RGB 
  > because I'm printing with colour ink.   My ink is Lysonic archival 
  > and the paper I'm using is arches cold press 140lb. natural white. 
  > Just wondering if anyone else has any suggestions on getting a cold 
  > toned print with colour ink.
  > thanks
  > Larry


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

the automatic linearization feature of IJC was 
> NOT used for 
> > these since it doesn't distinguish between gray and toner inks. 
> They were linearized "by hand" 
> 
> Thanks for the profile, Antonis. Could you explain the 
> significance of the last (above) statement? Would automatic 
> linearization by IJC have tended to give a profile that was 
> too-neutral (or not uniformly sepia)?


Phil,

linearization would have dealt with the color inks as if they were gray, and would have 
tried to make corrections in density using both color and gray inks. Depending on how  
the curves for color are drawn, this may not make a significant difference - but it's cleaner 
to do it by hand because then you know if you are moving the grays only or not.

In my way of thinking, I make a grayscale first, linearized manually, then add color "to 
taste" and finally compensate the grays to account for the extra density added by the 
color inks. In regards to color, it's by no means exact science (as you may get using 
color managed solutions), but it only needs to please the eye of the beholder. What 
matters is that all the density steps are preserved , and that is in fact very precise science 
with the densitometer.



> Also, what version of OPM was used?

1.02b   creation date: May 31, 2003, 12:02am


Antonis