Re: [Digital BW] EEM, OBA's, and Proof Prints
2006-09-09 by CDTobie@aol.com
In a message dated 9/8/06 8:13:00 PM, bob@... writes: > The problem is > that the print looks duller indoors on EEM, HPR, and Peregrine. > So you prefer the punchier result of UV paper and UV illumination... > I was thinking of accommodating this by adjusting the black and white > points on the brightness curve, > This will only work if you had it wrong in the first place! > but examination of the histogram > shows I am already using the entire range of the histogram. I > currently do not have any significant compression at the high and > low ends of the histogram and do not want to create any by playing > with the black and white points. > Zone system of not, we all tend to adjust most images (except fog scenes and the like) so that there highlights hit white, and the shadows hit black. Further "punching" of the file will cause clipping. There is a feature in the upcoming version of PrintFIX PRO that allows the user to adjust the degree of punch versus detail in shadows and in highlights, but it can't work miracles, though it can compensate fairly well for the localized clogging of the shadows that matte art papers show. Still, there's no fix that will make your paper glow like OBAs, except more light, or OBAs. > > I am printing on a 1280 with the UT2 inks and QTR. Does anyone have > any suggestions how I can get the outdoor EEM look on HPR or > Peregrine when viewed indoors? Would you process the image through > your image processor any different? What about the inkset? > Adding OBAs through the inkset would be kind of perverse; and would require an inkset with OBA enhanced GLOP printed even on matte media. Better to use OBA paper if you need that punch. If you adjust your gamma for higher lighting levels, and then user more light, that will help, but of course your eye adapts to this in a way that it does not adapt to OBAs, so its not really going to produce that same effect. I'd suggest getting some of the latest Moab Entrada in both Bright and Natural (same paper with and without OBAs, oh, and with a much improved D-max on recent versions) and profiling both, then crossing the profiles, and comparing all your prints, to see whats really what with OBAs. I find that I ramp my gray tints differently to merge into the warmer white of Entrada Natural than I do for the cooler white of Entrada Bright. And that I tend to use different tints throughout the range for each of the papers, as well as for different images. Again, there will be tools for including paper white tone in your grays or not, in PrintFIX PRO 2.0; as well as tools for adjusting hightlight tint, as well as shadow tint, to get just the graytones you want when printing with K3 printers, Canon iPF5000, and (we'll have to wait for Photokina to see) possibly the new HP DesignJets. These tools can also be used with older printers, but since older models blend at least light grays (or all grays with really old models) from CMY components, the results won't be as stable as they will with the new multigray printers. C. David Tobie Product Technology Manager ColorVision Business Division DataColor Inc. CDTobie@... www.colorvision.com [Non-text portions of this message have been removed]