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Digital BW, The Print

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Real World Print Viewing

Real World Print Viewing

2006-11-15 by mbutler355

Hi All,

I bought an r2400 about 2 months ago, and I'm having a good ole time with this thing. I've 
been following Clayton's workflow for BW. Love it. But lately I've been trying Paul's EZ 
Yellow system, with Clayton's workflow.

My "studio/darkroom" is a spare bedroom with the computer and printer in it; it has 
overhead incandescent light bulbs in one of those godawful home depot glass bowls on 
the ceiling.

Anyway, these EZs come out of the printer with what looks to me like a nasty cyan or 
magenta cast. Our British friends might describe the look as "plummy." They're 
frightening, in a way.

But I like the way these prints look in my living room, which has tungsten downlights and 
a gallery-like atmosphere. Sometimes I walk a print out to the sun porch and view it in 
daylight to see how I've done. 

I was just wondering, without being too technical, what kind of light you use to judge 
prints by and know you nailed it. In the wet darkroom days, using mostly Ilford paper, I 
could tell instinctively I nailed it with drydown and all that.

Maybe that's too much too ask with digital printing and all the different kinds of papers? 
(By the way, I figure my monitor is pretty well calibrated with the Monaco system.)

RE: [Digital BW] Real World Print Viewing

2006-11-15 by John Moody

Solux desk lamp.

Best regards,
John Moody
Show quoted textHide quoted text
-----Original Message-----
From: DigitalBlackandWhiteThePrint@yahoogroups.com
[mailto:DigitalBlackandWhiteThePrint@yahoogroups.com]On Behalf Of mbutler355
Sent: Tuesday, November 14, 2006 10:54 PM
To: DigitalBlackandWhiteThePrint@yahoogroups.com
Subject: [Digital BW] Real World Print Viewing

Hi All,

I bought an r2400 about 2 months ago, and I'm having a good ole time with
this thing. I've
been following Clayton's workflow for BW. Love it. But lately I've been
trying Paul's EZ
Yellow system, with Clayton's workflow.

My "studio/darkroom" is a spare bedroom with the computer and printer in it;
it has
overhead incandescent light bulbs in one of those godawful home depot glass
bowls on
the ceiling.

Anyway, these EZs come out of the printer with what looks to me like a nasty
cyan or
magenta cast. Our British friends might describe the look as "plummy."
They're
frightening, in a way.

But I like the way these prints look in my living room, which has tungsten
downlights and
a gallery-like atmosphere. Sometimes I walk a print out to the sun porch and
view it in
daylight to see how I've done.

I was just wondering, without being too technical, what kind of light you
use to judge
prints by and know you nailed it. In the wet darkroom days, using mostly
Ilford paper, I
could tell instinctively I nailed it with drydown and all that.

Maybe that's too much too ask with digital printing and all the different
kinds of papers?
(By the way, I figure my monitor is pretty well calibrated with the Monaco
system.)
__._,_._


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

Re: [Digital BW] Real World Print Viewing

2006-11-15 by Alan Zimmerman

I've had good luck using the " Reveal" bulb series with standard base. They fit in most light fixtures and are daylight corrected. Available in 60,100 watts.
Alan Zimmerman
azimmerman1@...
Show quoted textHide quoted text
  ----- Original Message ----- 
  From: John Moody 
  To: DigitalBlackandWhiteThePrint@yahoogroups.com 
  Sent: 11/14/2006 10:20 PM
  Subject: RE: [Digital BW] Real World Print Viewing


  Solux desk lamp.

  Best regards,
  John Moody

  -----Original Message-----
  From: DigitalBlackandWhiteThePrint@yahoogroups.com
  [mailto:DigitalBlackandWhiteThePrint@yahoogroups.com]On Behalf Of mbutler355
  Sent: Tuesday, November 14, 2006 10:54 PM
  To: DigitalBlackandWhiteThePrint@yahoogroups.com
  Subject: [Digital BW] Real World Print Viewing

  Hi All,

  I bought an r2400 about 2 months ago, and I'm having a good ole time with
  this thing. I've
  been following Clayton's workflow for BW. Love it. But lately I've been
  trying Paul's EZ
  Yellow system, with Clayton's workflow.

  My "studio/darkroom" is a spare bedroom with the computer and printer in it;
  it has
  overhead incandescent light bulbs in one of those godawful home depot glass
  bowls on
  the ceiling.

  Anyway, these EZs come out of the printer with what looks to me like a nasty
  cyan or
  magenta cast. Our British friends might describe the look as "plummy."
  They're
  frightening, in a way.

  But I like the way these prints look in my living room, which has tungsten
  downlights and
  a gallery-like atmosphere. Sometimes I walk a print out to the sun porch and
  view it in
  daylight to see how I've done.

  I was just wondering, without being too technical, what kind of light you
  use to judge
  prints by and know you nailed it. In the wet darkroom days, using mostly
  Ilford paper, I
  could tell instinctively I nailed it with drydown and all that.

  Maybe that's too much too ask with digital printing and all the different
  kinds of papers?
  (By the way, I figure my monitor is pretty well calibrated with the Monaco
  system.)
  __._,_._

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



   

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

Re: Real World Print Viewing

2006-11-15 by colingruk

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "mbutler355" 
<mbutler355@...> wrote:
>

> I was just wondering, without being too technical, what kind of 
light you use to judge 
> prints by and know you nailed it. In the wet darkroom days, using 
mostly Ilford paper, I 
> could tell instinctively I nailed it with drydown and all that.

I think I have the English versions of these in 48 inch and 20 inch 
lengths

http://www.prismaecat.lighting.philips.com/LightSite/Whirlwind.aspx?
eca=LLPPLG&cpf=GBEREN&stg=ACT&lan=EN+&ecu=LMP|PLL|LP&cnt_key=TLD9GRAP+
|PHL&t=1&tree=0&scr_md=1111&nav=Null&loc=Null&leftnav=2_1&tt=BasicSpec
s

and

http://www.misterart.com/store/view.cfm?store=001&group_id=3233


I do not recommend the OTT lights which were first recommended to me.

When I get back to the UK nearly all lighting in my house's 
work/study and living rooms will be high CRI lighting.

ColinGRUK

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