Digital BW, The Print

That's an oxymoron, right?  This RIP's strictly for monochromatic printing?  So trying to 
use it to gain greater control of color ink densities in printing spectral digital negatives 
(which ideally contain no black ink, only color) is a dead end street.  Am I Right?

Thanking you in advance,

Nathan Jones
Last Posted: Azo and Paper White

Nope. You are dead wrong. You can use QTR with black switched off, and 
use the color inks in a more precise way for the spectral control.

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "chiron1961" 
<NTJSLC@a...> wrote:
> That's an oxymoron, right?  This RIP's strictly for monochromatic 
printing?  So trying to 
> use it to gain greater control of color ink densities in printing 
spectral digital negatives 
> (which ideally contain no black ink, only color) is a dead end 
street.  Am I Right?

> 
> Thanking you in advance,
> 
> Nathan Jones
> Last Posted: Azo and Paper White

Thanks Shilesh,

That's what I'd hoped to hear.  I'm doing something wrong.  ---Back to fiddling with it.

Kindly,

Nathan Jones

Hi Nathan,

I'm using QTR with my 1200 (MIS archival color inks) just for that:
spectral density negatives. I've set up QTR curves for Y, M, C only
and for Y/M,  Y/C, M/C combinations (by using one or two inks and one
toner). With curve combination in the QTR driver you can mix any
color. For long scale processes like salt or albumen I'm using the Y/C
mix, which has C and LC as basic inks and Y as toner ink.

You can even load process related .acv correction curves in the QTR
curve and name it process related: QTR_albumen, QTR_platinum etc.
Checking it in the QTR driver gives you the right curve and color
right away.

kees


--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "chiron1961"
<NTJSLC@a...> wrote:
> That's an oxymoron, right?  This RIP's strictly for monochromatic
printing?  So trying to 
> use it to gain greater control of color ink densities in printing
spectral digital negatives 
> (which ideally contain no black ink, only color) is a dead end
street.  Am I Right?

> 
> Thanking you in advance,
> 
> Nathan Jones
> Last Posted: Azo and Paper White

Hi Natahan;

I recently went through another session of making spectral negs with 
an R1800, with fairly good success. One of the advantages of QTR is 
that it enables you to eliminate the channels that are banding the 
most. For  example, I'm using two different curves that print with 
the Y, R and B and geting an orange neg of good contrast and density 
that prints at grade 2-3 with little or no work. What sort of 
problems are you having?

Steve Karafyllakis

-- In DigitalBlackandWhiteThePrint@yahoogroups.com, "chiron1961" 
<NTJSLC@a...> wrote:
> Thanks Shilesh,
> 
> That's what I'd hoped to hear.  I'm doing something wrong.  ---
Back to fiddling with it.

> 
> Kindly,
> 
> Nathan Jones

Hi Steve,

---Good to hear you're getting the results you are after.  After Roy informed me that 
neither QTR, nor the Gimp driver, apply any undirected color management, I downloaded 
QTR, looking through it, reading the user's guide, it looked really good.  The next day 
when I went to print some PDN calabration tablets, my controls for QTR looked very 
different.  I printed one palette and got tones of eboni only ---no color.  Becoming 
impatient to produce a negative in the ball park on Azo, I returned to the Gimp driver 
because I am familiar with it, and more importantly, all my calibrations for Azo up to this 
point have been done with it.  Last night, I did finally succeed in printing two very different 
image files on Azo (G3) using the same systematically crafted process adjustment curve.  
The negs were printed with C and Y, no black ----and they showed no evidence of 
banding.  It took a small shift in chemistry and in the wet process and I achieved more 
than enough density.

Now I need to go back, extract and reload QTR and crawl into it again and learn how to 
use it.  Then I'll need to calibrate it to my process.  

I'll be back when I get into trouble.

Thanks for the encouragement and the willingness to assist.  I welcome your comments.

Kindly,

Nathan Jones

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Kees Brandenburg" <ctb@z...> 
wrote:
> Hi Nathan,
> 
> I'm using QTR with my 1200 (MIS archival color inks) just for that:
> spectral density negatives. I've set up QTR curves for Y, M, C only
> and for Y/M,  Y/C, M/C combinations (by using one or two inks and one
> toner). With curve combination in the QTR driver you can mix any
> color. For long scale processes like salt or albumen I'm using the Y/C
> mix, which has C and LC as basic inks and Y as toner ink.
> 
> You can even load process related .acv correction curves in the QTR
> curve and name it process related: QTR_albumen, QTR_platinum etc.
> Checking it in the QTR driver gives you the right curve and color
> right away.
> 
> kees

Thanks Kees:last 

My post to Steven Karafyllakus was supposed to be addressed to you as well.  Thanks for 
the info and encouragement.  I will get back to QTR.   Right now,  I am getting my first 
good, solid spectral negs (C and Y) with the Gimp driver.

Always welcome,

Nathan Jones

> 
> 
> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, "chiron1961"
> <NTJSLC@a...> wrote:
> > That's an oxymoron, right?  This RIP's strictly for monochromatic
> printing?  So trying to 
> > use it to gain greater control of color ink densities in printing
> spectral digital negatives 
> > (which ideally contain no black ink, only color) is a dead end
> street.  Am I Right?
> > 
> > Thanking you in advance,
> > 
> > Nathan Jones
> > Last Posted: Azo and Paper White