Digital BW, The Print

Since swapping my FNS-E inks (John Woolfe workflow) for UT in my 1280
and Paul's workflow, my prints are far from what I see on the screen
like they used to be. Prints are now much lighter on EEM. I'm
concerned I have something set wrong. Can someone review my settings?

In color management:
1) Document:: untagged RGB IS checked
2) Proof setup: US web coated (SWOP v1 is NOT checked
3) Profile is: Adobe RGB (1998)
4) Intent is: relative colormetric
5) Use Black Point compensation IS checked
6) Paper is specified as: Photo
7) In color adjustment: No Color Adjustment is selected (does this
override #1-5?)

I confess the skipping over some of the basic Photoshop and printing
areas last year and just started printing since it worked. I wonder if
I'm really missing something really elementary.

I've never done an official monitor calibration since my screen and
prints used to match back when I used FSN & Woolfe workflow. 

I'm open to ideas how to get back to where my monitor and the prints
match after switching to the UT inkset and Paul's workflow.

Bob Michaels

Bob,

>Since swapping my FNS-E inks (John Woolfe workflow) for UT in my 1280
>and Paul's workflow, my prints are far from what I see on the screen
>like they used to be. Prints are now much lighter on EEM. ...

Different workflows can have very different gammas or midtone densities.  I
have used the midtone density target that I was getting with my 1160 and the
Piezo driver several years ago.  I wanted my files to print the same on the
various inksets I was using.

I'm not sure what Woolfe used as his target midtone density.

As far as color settings are concerned, I set the Edit, Color Settings top
line (overall settings) first to Photoshop 5 default settings.  Then I
switch the RGB to AdobeRGB(1998).

In the print driver the most important setting in Color Management is "No
Color Adjustment."

I use the Photoshop Preview function to match the monitor image to the
print.

Here is the procedure I use (which I first saw explained on the Piezo list
by Tyler):

1.	Open the file that has a good range of tones and that you have
printed with the printer & inkset you want to match.  I like to use the
21-step test file.

2.	Go to Image, Mode, and Assign Profile.  Check, "Don't Color Manage
This Document," and hit OK.

3.	Go to Edit, Color settings.  A "Color Settings" box should appear.
Move it down so that you can get to the top of it, but so that it does not
cover your image.  Check "Advanced Mode" and "Preview."  In the "Working
spaces" box, scroll "Gray" line up to "custom Dot Gain."  A curves box
should appear.

4.	This is the curve that allows you to adjust the image on the
monitor.  The idea, of course, is to match image on the monitor to the print
of the image that you've already made.  After you have matched the two, name
the curve in the space at the top of the box and hit OK.  The curves box
disappears, and you now see the name you just selected in the "Gray" Working
Space line of the Color Settings box.

5.	Click on this new name in the "Gray" line.  Scroll up to and click
on "Save gray."  Save it as an .icc file.

6.	In the "Color settings" box, which should still be open, hit
"Cancel."  This will leave all of your working spaces as they were before.

7.	Now you are back at the image file you had originally opened. Go to
View, Proof Setup, Custom.  The new curve you made should be in the list,
probably at the bottom - Select it.  Then check "Preserve Color Numbers."
The image on the monitor should then look like it did while you were making
the curve.  Hit OK.

You can also record a Photoshop "Action" so that the preview/monitor
profiling steps become a simple, single-keystroke function (for example,
function key 2 on a PC can be designated to apply the preview).  (To record
an Action, click the Actions pallet tab, click the upper right arrow, start
recording, select the function key, hit View, Proof Setup, etc. as above,
then click the Actions pallet upper right arrow and stop recording.)

Paul
http://www.PaulRoark.com

Paul, thanks. I'll give that a try after dinner. 

Bob

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Paul Roark"
<paul.roark@v...> wrote:
> Bob,
> 
> >Since swapping my FNS-E inks (John Woolfe workflow) for UT in my 1280
> >and Paul's workflow, my prints are far from what I see on the screen
> >like they used to be. Prints are now much lighter on EEM. ...
> 
> Different workflows can have very different gammas or midtone
densities.  I
> have used the midtone density target that I was getting with my 1160
and the
> Piezo driver several years ago.  I wanted my files to print the same
on the
> various inksets I was using.
> 
> I'm not sure what Woolfe used as his target midtone density.
> 
> As far as color settings are concerned, I set the Edit, Color
Settings top
> line (overall settings) first to Photoshop 5 default settings.  Then I
> switch the RGB to AdobeRGB(1998).
> 
> In the print driver the most important setting in Color Management
is "No
> Color Adjustment."
> 
> I use the Photoshop Preview function to match the monitor image to the
> print.
> 
> Here is the procedure I use (which I first saw explained on the
Piezo list
> by Tyler):
> 
> 1.	Open the file that has a good range of tones and that you have
> printed with the printer & inkset you want to match.  I like to use the
> 21-step test file.
> 
> 2.	Go to Image, Mode, and Assign Profile.  Check, "Don't Color Manage
> This Document," and hit OK.
> 
> 3.	Go to Edit, Color settings.  A "Color Settings" box should appear.
> Move it down so that you can get to the top of it, but so that it
does not
> cover your image.  Check "Advanced Mode" and "Preview."  In the "Working
> spaces" box, scroll "Gray" line up to "custom Dot Gain."  A curves box
> should appear.
> 
> 4.	This is the curve that allows you to adjust the image on the
> monitor.  The idea, of course, is to match image on the monitor to
the print
> of the image that you've already made.  After you have matched the
two, name
> the curve in the space at the top of the box and hit OK.  The curves box
> disappears, and you now see the name you just selected in the "Gray"
Working
> Space line of the Color Settings box.
> 
> 5.	Click on this new name in the "Gray" line.  Scroll up to and click
> on "Save gray."  Save it as an .icc file.
> 
> 6.	In the "Color settings" box, which should still be open, hit
> "Cancel."  This will leave all of your working spaces as they were
before.
> 
> 7.	Now you are back at the image file you had originally opened. Go to
> View, Proof Setup, Custom.  The new curve you made should be in the
list,
> probably at the bottom - Select it.  Then check "Preserve Color
Numbers."
> The image on the monitor should then look like it did while you were
making
> the curve.  Hit OK.
> 
> You can also record a Photoshop "Action" so that the preview/monitor
> profiling steps become a simple, single-keystroke function (for example,
> function key 2 on a PC can be designated to apply the preview).  (To
record
> an Action, click the Actions pallet tab, click the upper right
arrow, start
> recording, select the function key, hit View, Proof Setup, etc. as
above,

> then click the Actions pallet upper right arrow and stop recording.)
> 
> Paul
> http://www.PaulRoark.com