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Prints versus screen images.

Prints versus screen images.

2009-04-06 by AlanScharf

I argue with my photographer friends that the PRINT is the photograph, not the image seen on a computer. For me the print size is a critical aesthetic consideration. The eye moves (slightly) around a little computer image in an entirely different way that it moves around a real print. 

Also, the junk surrounding the computer image, including the monitor itself, pulls the image up to the plane of the monitor screen, destroying the character of the photograph as a window to the beyond.

Do any of you have opinions about prints vs screen images?

-- Alan Scharf
Saskatoon

Re: [Digital BW] Prints versus screen images.

2009-04-07 by Gary Weaver

In my book, a projected slide is not a picture. A graphic representation of a "photo", only suggests graphic arts to me. I do suggest to people that they really do not have anything until it's printed. Paper is the platter an image is served on - a photograph/picture.

I love slides compared to monitor projections - rear projections. The old View Master was rear projection and I liked that just fine.

gar

*********** REPLY SEPARATOR  ***********
Show quoted textHide quoted text
On 4/6/2009 at 10:31 PM AlanScharf wrote:

>I argue with my photographer friends that the PRINT is the photograph,
>not the image seen on a computer. For me the print size is a critical
>aesthetic consideration. The eye moves (slightly) around a little computer
>image in an entirely different way that it moves around a real print. 
>
>Also, the junk surrounding the computer image, including the monitor
>itself, pulls the image up to the plane of the monitor screen, destroying
>the character of the photograph as a window to the beyond.
>
>Do any of you have opinions about prints vs screen images?
>
>-- Alan Scharf
>Saskatoon

Re: [Digital BW] Prints versus screen images.

2009-04-07 by C D Tobie

On Apr 6, 2009, at 6:31 PM, AlanScharf wrote:

> I argue with my photographer friends that the PRINT is the  
> photograph, not the image seen on a computer. For me the print size  
> is a critical aesthetic consideration. The eye moves (slightly)  
> around a little computer image in an entirely different way that it  
> moves around a real print.
>
> Also, the junk surrounding the computer image, including the monitor  
> itself, pulls the image up to the plane of the monitor screen,  
> destroying the character of the photograph as a window to the beyond.
>
> Do any of you have opinions about prints vs screen images?

For years photographers thought of the chrome (positive transparency,  
on a backlit light table) as the standard; and it was certainly  
unmatchable in any other format at the time, so saying "here is my  
glorious work, it will look lousy when you make photo prints of it, or  
send it to press" was a common photographer's viewpoint. With digital  
the version of an image thought of as "the real thing" has varied. For  
some, its what they see on the little LCD screen on the back of their  
camera, but thats mostly amateurs. For others, its the final print on  
paper, but thats mostly the printmakers. For those in between, its  
what they see on their own monitor, in which case I would suggest they  
get a very good, very large monitor, especially as digital files get  
larger!

At this point in time, most of the people I work with consider the  
highbit adjusted image the "real thing" and the low bit TIFF they  
create from it for customers and print services as the unflexible  
derivative, good enough to print, but not deep enough to do much else  
to. So its getting to be Lightroom, as much as Photoshop, that they  
are viewing "the real thing" in...

Personally, I see it both ways: as a fanatic printmaker, I consider  
the print the final artifact, and unprintable images (ones that just  
will never look as good in print as on screen) to be phantoms similar  
to the chrome-on-a-lightbox. On the other hand, my portfolio is not  
the big black box in the corner, its the images in my Lightroom  
library, and more people see my portfolio these days on an iPhone,  
than in print... so its a slippery slope.

C. David Tobie
Global Product Technology Manager
Digital Imaging & Home Theater
CDTobie@...


  ----------



Datacolor
www.datacolor.com/Spyder3




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

Re: [Digital BW] Prints versus screen images.

2009-04-07 by C D Tobie

On Apr 7, 2009, at 7:39 AM, Gary Weaver wrote:

> In my book, a projected slide is not a picture. A graphic  
> representation of a "photo", only suggests graphic arts to me. I do  
> suggest to people that they really do not have anything until it's  
> printed. Paper is the platter an image is served on - a photograph/ 
> picture.

At many gallery shows these days the MAJORITY of the work shown is not  
of paper or canvas. In addition to the prints on the wall, there is  
often one or more digital frame, or projection system, running,  
showing far more work than the walls will hold (or the artist's  
pocketbook can matte and frame). Its not uncommon to have the majority  
of the people in the gallery gathered around such displays, instead of  
viewing the prints on the walls.
>
> I love slides compared to monitor projections - rear projections.  
> The old View Master was rear projection and I liked that just fine.

Thats rather like claiming you prefer vinyl records to CDs. The  
ViewMaster was a loupe/passive lighting version of a chrome on a  
lighttable, the with the clever addition of 3D. So you are basically  
harking back to the analog standard. I don't recall any great  
photographers who worked in the ViewMaster format, but I do recall  
spending hours viewing ViewMaster images!

C. David Tobie
Global Product Technology Manager
Digital Imaging & Home Theater
CDTobie@...


  ----------



Datacolor
www.datacolor.com/Spyder3




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

Re: [Digital BW] Prints versus screen images.

2009-04-07 by Mark Savoia

Here is one. Florence Thomas. Thomas was the Portland, Oregon  
sculptor employed by the makers of the 3-D viewer to create miniature  
dioramas of fairy tales and pop culture scenes which she then  
photographed.

Mark

http://www.stillrivereditions.com

On Apr 7, 2009, at 10:02 AM, C D Tobie wrote:

>  I don't recall any great
> photographers who worked in the ViewMaster format,



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

Re: [Digital BW] Prints versus screen images.

2009-04-07 by C D Tobie

On Apr 7, 2009, at 10:09 AM, Mark Savoia wrote:

> Here is one. Florence Thomas. Thomas was the Portland, Oregon
> sculptor employed by the makers of the 3-D viewer to create miniature
> dioramas of fairy tales and pop culture scenes which she then
> photographed.

Indeed:

http://frequential.blogspot.com/2008/04/unsung-geniuses-florence-thomas-of.html

C. David Tobie
Global Product Technology Manager
Digital Imaging & Home Theater
CDTobie@...


  ----------



Datacolor
www.datacolor.com/Spyder3




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

Re: [Digital BW] Prints versus screen images.

2009-04-07 by john dean

I remember back in the late 70's early 80's all my friends in art school were saying that the era of paper photo was just about done. And, that video was rapidly in the process of replacing it all, being that prints were so 19th century and video so immediate. At one time I even believed it myself. Now, with the web at our fingertips, video art looks so quaint and even historic, but still prints are as collected as ever. Go figure.

The really odd thing to me is how Gursky has made over 9 million bucks from 4 copies of one type C print, and one even sold by itself for 3.3 million US. Now that's marketing. That C print even beat out Steichen. Course it was bigger .....



http://blogs.photopreneur.com/the-most-expensive-photographs-ever-sold

http://en.wikipedia.org/wiki/Andreas_Gursky

j

Re: Prints versus screen images.

2009-04-07 by Jon Cone

Not every photographer has mastered the art of printmaking. Not every photographer has the patience to begin understanding print in the way they dedicate themselves to their image-making. I believe that the struggle in the darkroom has become an even worse struggle in the digital age where it's difficult to gain mastery when a barrier of technology exists to frustrate at nearly every point along the way. Hats off to those who've gained these print skills or furthered their darkroom mastery into digital print mastery.

On the other hand, Gassan wrote (as the Gestalt psychologist rather than as the photo historian/teacher) that humans are not physiologically constructed to stare into transmissive light without it affecting our ability to truthfully "see".

I believe he would have thought that the display was a way to show what one's work 'subject matter' is about, an editor of sorts, but that the prints would be the only way to convey what one's work was truthfully about. He claimed it takes a human at least 3 minutes of looking at a single image to rid the mind of all the preconceived notions and thoughts and bits of interference before the viewer can actually begin to "see" the print. The memory of each successive image on a back-lit display would certainly cloud perception as well as impose its own memory in the form of a retained latent image on the brain. Perhaps we will lose the "art" of viewing as we move into the future. Contemplation versus convenience (and speed).

Who's not heard their grandmother say.. "So, they want to display their pictures on computers... who is anyone to say they can't?"   lol

Photography is morphing into something we can't quite understand yet culturally nor historically. The print most-likely represents the end of one medium. The new photography will merge with other interactive media and become displayed eventually in the same way as any other mass conveyed digital art is displayed. Still-images taken from video or constructed in software will be difficult to discern from those made thoughtfully by some photographer insisting they are not part of the new media. Some collectors will have expensive display systems while others may have cobbled systems.

I can only imagine this discussion ten years from now. How many photographers will be printing, and if printing will be printing in B&W, and how many will be printing B&W in color? How many B&W photographers will be displaying on color displays? Carbon inkjet I believe is going to become highly collectible in the future, as the ability to produce them becomes rarer and rarer. 


Jon Cone
InkjetMall.com


--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "AlanScharf" <ascharf@...> wrote:
Show quoted textHide quoted text
>
> I argue with my photographer friends that the PRINT is the photograph, not the image seen on a computer. For me the print size is a critical aesthetic consideration. The eye moves (slightly) around a little computer image in an entirely different way that it moves around a real print. 
> 
> Also, the junk surrounding the computer image, including the monitor itself, pulls the image up to the plane of the monitor screen, destroying the character of the photograph as a window to the beyond.
> 
> Do any of you have opinions about prints vs screen images?
> 
> -- Alan Scharf
> Saskatoon
>

Re: [Digital BW] Prints versus screen images.

2009-04-07 by Tyler Boley

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, C D Tobie <CDTobie@...> wrote:
....
> For years photographers thought of the chrome (positive transparency,  
> on a backlit light table) as the standard; and it was certainly  
> unmatchable in any other format at the time, so saying "here is my  
> glorious work, it will look lousy when you make photo prints of it, or  
> send it to press" was a common photographer's viewpoint.
...

> ...For others, its the final print on  
> paper, but thats mostly the printmakers...

As someone with feet in both the commercial photography world, and the fine art photography world, I'd redefine those categories. 
Commercial shooters, from large format ad work to 35mm Nat Geo work, glorified the transparency, and were generally disappointed with it's representation on paper and the compromises required to get it there.

But in the fine art photography community I was exposed to, color or B&W, you weren't done until you had a successfull print. From Eugene Smith to Eggleston, Gibson to Sommer, the print is the photograph. It's not just a printmaker concern.

This is not to suggest that all artists should follow this path, or that all fine art photographers have or should have, certainly there are many fascinating options.
For me, from the beginning, I did not have a photograph until a print that spoke was in physical existence. I was exposed to this by several masters of photography early on, long before I was a "printmaker". 
Tyler
http://www.custom-digital.com/

Re: [Digital BW] Prints versus screen images.

2009-04-07 by C D Tobie

On Apr 7, 2009, at 12:01 PM, Tyler Boley wrote:

> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, C D Tobie  
> <CDTobie@...> wrote:
> ....
>> For years photographers thought of the chrome (positive transparency,
>> on a backlit light table) as the standard; and it was certainly
>> unmatchable in any other format at the time, so saying "here is my
>> glorious work, it will look lousy when you make photo prints of it,  
>> or
>> send it to press" was a common photographer's viewpoint.
> ...
>
>> ...For others, its the final print on
>> paper, but thats mostly the printmakers...
>
> As someone with feet in both the commercial photography world, and  
> the fine art photography world, I'd redefine those categories.
> Commercial shooters, from large format ad work to 35mm Nat Geo work,  
> glorified the transparency, and were generally disappointed with  
> it's representation on paper and the compromises required to get it  
> there.
>
> But in the fine art photography community I was exposed to, color or  
> B&W, you weren't done until you had a successfull print. From Eugene  
> Smith to Eggleston, Gibson to Sommer, the print is the photograph.  
> It's not just a printmaker concern.
>
> This is not to suggest that all artists should follow this path, or  
> that all fine art photographers have or should have, certainly there  
> are many fascinating options.
> For me, from the beginning, I did not have a photograph until a  
> print that spoke was in physical existence. I was exposed to this by  
> several masters of photography early on, long before I was a  
> "printmaker".
> Tyler

No disagreements with any of that, except that I suspect you were a  
printmaker from the time you were scribbling in the fog on the window...

C. David Tobie
Global Product Technology Manager
Digital Imaging & Home Theater
CDTobie@...



Datacolor
www.datacolor.com/Spyder3




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

Re: [Digital BW] Prints versus screen images.

2009-04-07 by Gary Weaver

Or, in part, you might guess I don't like the light from a monitor so much :  )

Another important consideration for me has to do with manipulation - at what point is it no longer a photo but a artistic construction ( Ansel, for example).

gar

*********** REPLY SEPARATOR  ***********

On 4/7/2009 at 10:02 AM C D Tobie wrote:

...............................
Show quoted textHide quoted text
>> I love slides compared to monitor projections - rear projections.  
>> The old View Master was rear projection and I liked that just fine.
>
>Thats rather like claiming you prefer vinyl records to CDs. The  
>ViewMaster was a loupe/passive lighting version of a chrome on a  
>lighttable, the with the clever addition of 3D. So you are basically  
>harking back to the analog standard. I don't recall any great  
>photographers who worked in the ViewMaster format, but I do recall  
>spending hours viewing ViewMaster images!
>
>C. David Tobie
>Global Product Technology Manager
>Digital Imaging & Home Theater
>CDTobie@...
>
>
>  ----------

Re: [Digital BW] Prints versus screen images.

2009-04-07 by Gary Weaver

I am in this camp, there are always exceptions though.  I dropped color neg as soon as I discovered positives, and took up cibachrome in a lame attempt to get them on paper. It's like a bound pages book as compared to digital books. Though my chrome prints are petty bad, they are a lasting statement - as are the old family contact prints from the old country. Many of the young digital photographers have discovered polaroid and cherish these photographs . They tape them on the wall or clothesline hang them.

gar

*********** REPLY SEPARATOR  ***********
Show quoted textHide quoted text
On 4/7/2009 at 4:01 PM Tyler Boley wrote:

>--- In DigitalBlackandWhiteThePrint@yahoogroups.com, C D Tobie
><CDTobie@...> wrote:
>....
>> For years photographers thought of the chrome (positive transparency,  
>> on a backlit light table) as the standard; and it was certainly  
>> unmatchable in any other format at the time, so saying "here is my  
>> glorious work, it will look lousy when you make photo prints of it, or  
>> send it to press" was a common photographer's viewpoint.
>...
>
>> ...For others, its the final print on  
>> paper, but thats mostly the printmakers...
>
>As someone with feet in both the commercial photography world, and the
>fine art photography world, I'd redefine those categories. 
>Commercial shooters, from large format ad work to 35mm Nat Geo work,
>glorified the transparency, and were generally disappointed with it's
>representation on paper and the compromises required to get it there.
>
>But in the fine art photography community I was exposed to, color or B&W,
>you weren't done until you had a successfull print. From Eugene Smith to
>Eggleston, Gibson to Sommer, the print is the photograph. It's not just a
>printmaker concern.
>
>This is not to suggest that all artists should follow this path, or that
>all fine art photographers have or should have, certainly there are many
>fascinating options.
>For me, from the beginning, I did not have a photograph until a print that
>spoke was in physical existence. I was exposed to this by several masters
>of photography early on, long before I was a "printmaker". 
>Tyler
>http://www.custom-digital.com/
>
>
>
>
>
>
>
>------------------------------------
>
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Re: [Digital BW] Prints versus screen images.

2009-04-07 by RobLee

wow! unbelievable what people with money will buy and how much they will pay. I guess tha is why we call it art, but of what no one knows.
what is art and what is junk? to one nude is an art to another porn. that is a beauty of the whole thing. there are no rules here at all.

--- On Tue, 4/7/09, john dean <deanwork2003@...> wrote:
Show quoted textHide quoted text
From: john dean <deanwork2003@yahoo.com>
Subject: Re: [Digital BW] Prints versus screen images.
To: DigitalBlackandWhiteThePrint@yahoogroups.com
Date: Tuesday, April 7, 2009, 11:33 AM











    
            I remember back in the late 70's early 80's all my friends in art school were saying that the era of paper photo was just about done. And, that video was rapidly in the process of replacing it all, being that prints were so 19th century and video so immediate. At one time I even believed it myself. Now, with the web at our fingertips, video art looks so quaint and even historic, but still prints are as collected as ever. Go figure.



The really odd thing to me is how Gursky has made over 9 million bucks from 4 copies of one type C print, and one even sold by itself for 3.3 million US. Now that's marketing. That C print even beat out Steichen. Course it was bigger .....



http://blogs. photopreneur. com/the-most- expensive- photographs- ever-sold



http://en.wikipedia .org/wiki/ Andreas_Gursky



j




 

      

    
    
	
	 
	
	








	


	
	


      

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

Re: [Digital BW] Prints versus screen images.

2009-04-07 by James Irelan

On Apr 7, 2009, at 9:02 AM, C D Tobie wrote:

>
> Thats rather like claiming you prefer vinyl records to CDs.
>





There are audiophiles who still do.  All things considered I am not  
one of them, but I do hear the areas where vinyl is still superior.   
(actually, making an apples and apples comparison between CD and vinyl  
is quite difficult...)

Ansel said that the print is the performance, and the print has always  
been what has driven my interest in photography.  At the same time,  
things change, technologies change and emerge, and David, you're  
probably the one to ask:  Where do things stand with what I'd call a  
high-end, high rez version of the little digital photo frames that  
seem more of a novelty than anything else right now?  In other words,  
while I love prints, I also see that on a very good monitor, a back  
lit image can be stunning, like looking at a transparency on a light  
table, as has been mentioned.  It would seem to me that a large screen  
with, say, an Eizo quality, with a built-in hard drive, like an iMac,  
thin, easily mountable on a wall with no additional computer, would be  
a logical extension of what already exists.  Anyone who has tried to  
hang even a small collection of framed work knows how quickly finite  
wall space disappears.  Back lit images look great.  The rotation of  
images serves variety, so an entire collection could be displayed in  
the space of one framed image.  As I say, I know that small, modest- 
quality versions of this exist, and it wouldn't surprise me if larger,  
high-rez versisons, do, too.  But I'm not aware of what the status of  
them is. I could see them becoming as popular as flat screen tvs if  
the price got similar, which of course a 20x24 or larger Eizo wouldn't  
be today, at least...

James

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

Re: [Digital BW] Prints versus screen images.

2009-04-07 by Cdtobie

There are medium quality digital frames (which is what I mentioned  
being used in galleries), but nothing in the Eizo category. For that,  
the new Mac mini, with miniDVI and miniDisplayPort would be the  
ticket, to run a large display, or a large TV.

Actually I just purchased one, to drive my home theater system, so  
I'll be testing it via both those outputs within the next few days.  
We'll see how my images look at 1180p on a 32 inch LCD TV in  
comparison to a 30" Cinema display.

C. D. Tobie
Global Product Technology Mngr.
Digital Imaging & Home Theater
Datacolor.com
CDTobie@Datacolor.com
Show quoted textHide quoted text
On Apr 7, 2009, at 1:54 PM, James Irelan <james@...> wrote:

>
> On Apr 7, 2009, at 9:02 AM, C D Tobie wrote:
>
>>
>> Thats rather like claiming you prefer vinyl records to CDs.
>>
>
>
>
>
>
> There are audiophiles who still do.  All things considered I am not
> one of them, but I do hear the areas where vinyl is still superior.
> (actually, making an apples and apples comparison between CD and vinyl
> is quite difficult...)
>
> Ansel said that the print is the performance, and the print has always
> been what has driven my interest in photography.  At the same time,
> things change, technologies change and emerge, and David, you're
> probably the one to ask:  Where do things stand with what I'd call a
> high-end, high rez version of the little digital photo frames that
> seem more of a novelty than anything else right now?  In other words,
> while I love prints, I also see that on a very good monitor, a back
> lit image can be stunning, like looking at a transparency on a light
> table, as has been mentioned.  It would seem to me that a large screen
> with, say, an Eizo quality, with a built-in hard drive, like an iMac,
> thin, easily mountable on a wall with no additional computer, would be
> a logical extension of what already exists.  Anyone who has tried to
> hang even a small collection of framed work knows how quickly finite
> wall space disappears.  Back lit images look great.  The rotation of
> images serves variety, so an entire collection could be displayed in
> the space of one framed image.  As I say, I know that small, modest-
> quality versions of this exist, and it wouldn't surprise me if larger,
> high-rez versisons, do, too.  But I'm not aware of what the status of
> them is. I could see them becoming as popular as flat screen tvs if
> the price got similar, which of course a 20x24 or larger Eizo wouldn't
> be today, at least...
>
> James
>
> [Non-text portions of this message have been removed]
>
>
>
> ------------------------------------
>
> Please visit the Group Homepage to check the Files, and other  
> resources as they are often being updated.
>
> http://groups.yahoo.com/group/DigitalBlackandWhiteThePrint
>
> If you wish to receive no emails or just a daily digest, or you wish  
> to unsubscribe, please edit your Membership preferences by visiting  
> this same page.
>
> Please follow these basic guidelines:
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> - Good manners are required at all time. No personal attacks or  
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> PRINT YAHOO! GROUP YOU EXPRESSLY UNDERSTAND AND AGREE THAT THE “OWNE 
> R” AND “MODERATORS” OF DIGITAL BW, THE PRINT YAHOO GROUP SHALL  
> NOT BE LIABLE TO YOU FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL,  
> CONSEQUENTIAL OR EXEMPLARY DAMAGES, INCLUDING BUT NOT LIMITED TO, DA 
> MAGES FOR LOSS OF PROFITS, GOODWILL, USE, DATA OR OTHER INTANGIBLE L 
> OSSES (EVEN IF THE  “OWNER” AND “MODERATORS” OF DIGITAL BW,  
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> AMAGES), RESULTING FROM: (i) THE USE OR THE INABILITY TO USE THE DIG 
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> ATION OF YOUR TRANSMISSIONS OR DATA; (iii) STATEMENTS OR CONDUCT OF  
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>
>
>

custom mat board

2009-04-07 by Debbi

I have an unusually long single image that I want to make into 3 
separate 11 x 8.5 prints and have matted on one mat board with three 
spaces to see the image as if it were one. I'm explaining it wrong 
I'm sure and I don't know if such a mat exists or even how to search 
for it. Any tips?
Thx
Debbi

Re: [Digital BW] custom mat board

2009-04-07 by ann clancy

this needs to be custom cut.
 
try lightimpression, or american frame . i am sure there are 
other companies that can do the same.
 
you will need to draw up for yourself what you want. ie. deminsion on all sides and between the windows.
 
ann
--- On Tue, 4/7/09, Debbi <corkie@sunset.net> wrote:
Show quoted textHide quoted text
From: Debbi <corkie@...>
Subject: [Digital BW] custom mat board
To: DigitalBlackandWhiteThePrint@yahoogroups.com
Date: Tuesday, April 7, 2009, 4:42 PM






I have an unusually long single image that I want to make into 3 
separate 11 x 8.5 prints and have matted on one mat board with three 
spaces to see the image as if it were one. I'm explaining it wrong 
I'm sure and I don't know if such a mat exists or even how to search 
for it. Any tips?
Thx
Debbi
















      

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

Re: [Digital BW] custom mat board

2009-04-07 by Debbi

Thanks for the quick reply!
Debbi
Show quoted textHide quoted text
>this needs to be custom cut.
>
>try lightimpression, or american frame . i am sure there are
>other companies that can do the same.
>
>you will need to draw up for yourself what you want. ie. deminsion 
>on all sides and between the windows.
>
>ann
>--- On Tue, 4/7/09, Debbi <corkie@...> wrote:
>
>From: Debbi <corkie@...>
>Subject: [Digital BW] custom mat board
>To: DigitalBlackandWhiteThePrint@yahoogroups.com
>Date: Tuesday, April 7, 2009, 4:42 PM
>
>
>
>
>
>
>I have an unusually long single image that I want to make into 3
>separate 11 x 8.5 prints and have matted on one mat board with three
>spaces to see the image as if it were one. I'm explaining it wrong
>I'm sure and I don't know if such a mat exists or even how to search
>for it. Any tips?
>Thx
>Debbi
>

Re: custom mat board

2009-04-08 by Tom Fielder

Debbi -
 
Here's a source for up to 60" x 104" mat board:
http://apps.webcreate.com/ecom/catalog/product_specific.cfm?ClientID=15
<http://apps.webcreate.com/ecom/catalog/product_specific.cfm?ClientID=15&Pro
ductID=24633> &ProductID=24633
 
TEF


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

Re: custom mat board

2009-04-08 by Mark Rogers

Hi Debbi,

Although you can sometimes find off the shelf frames with multi-openings they are usually for 4x6 or 8x10 and usually a complete frame as opposed to just mat. Companies like mine can do custom multi-opening. Assuming the overall mat is going to be horizontal, the question is will the 11 x 8.5's be horizontal or vertical. If you want 1 inch border between the openings, and a 2 inch border around the outside:

Vertical results in a 31.5 wide x 15 tall
Our 4-ply museum quality mat would be $12.54 + $2.50 setup fee + S&H

Horizontal results in a 39 wide x 12.5 tall
Our 4-ply museum quality mat would be $14.56 + $2.50 setup fee + S&H

We also have less expensive paper mat board and more expensive 8ply rag board. You can get prices for other configurations on our website by selecting custom in the size pull-down and entering in temporary opening size and borders such as 37x12.5 and 1 inch borders so the external size comes up correct. You can also order on the web just make sure you leave a note in the special instructions that the mat will be multi-opening and then call, email, or fax the specifics.

Of course if you have any other questions feel free to contact me offline.

Cheers,
Mark
President
http://www.framedestination.com


--- In DigitalBlackandWhiteThePrint@yahoogroups.com, Debbi <corkie@...> wrote:
Show quoted textHide quoted text
>
> I have an unusually long single image that I want to make into 3 
> separate 11 x 8.5 prints and have matted on one mat board with three 
> spaces to see the image as if it were one. I'm explaining it wrong 
> I'm sure and I don't know if such a mat exists or even how to search 
> for it. Any tips?
> Thx
> Debbi
>

Re: Prints versus screen images.

2009-04-08 by Aaron Shepard

I don't see how either prints _or_ screen images can be seen as the 
ultimate image. Reflecting the capabilities of today's digital 
cameras, the default color space for Lightroom is ProPhoto, which 
includes colors that neither of those media can display. In other 
words, there's literally no medium that can accurately represent the 
image. All you can get is compromises -- different ones in different 
media. Each medium has advantages and disadvantages, but
the image itself remains an ideal that we will never actually see.

Aaron

Re: [Digital BW] Re: Prints versus screen images.

2009-04-08 by C D Tobie

On Apr 8, 2009, at 3:03 PM, Aaron Shepard wrote:

> I don't see how either prints _or_ screen images can be seen as the
> ultimate image. Reflecting the capabilities of today's digital
> cameras, the default color space for Lightroom is ProPhoto, which
> includes colors that neither of those media can display


ProPhoto includes colors that the eye can't see; that effectively  
don't even exist...

C. David Tobie
Global Product Technology Manager
Digital Imaging & Home Theater
CDTobie@...


  ----------



Datacolor
www.datacolor.com/Spyder3




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

Re: [Digital BW] Re: Prints versus screen images.

2009-04-08 by Gary Weaver

As far as ultimate image goes, I started wondering  five years ago why we are not doing holographic. I guess that would be too spooky for some.

gar

*********** REPLY SEPARATOR  ***********
Show quoted textHide quoted text
On 4/8/2009 at 12:03 PM Aaron Shepard wrote:

>I don't see how either prints _or_ screen images can be seen as the 
>ultimate image. Reflecting the capabilities of today's digital 
>cameras, the default color space for Lightroom is ProPhoto, which 
>includes colors that neither of those media can display. In other 
>words, there's literally no medium that can accurately represent the 
>image. All you can get is compromises -- different ones in different 
>media. Each medium has advantages and disadvantages, but
>the image itself remains an ideal that we will never actually see.
>
>Aaron

Re: Prints versus screen images.

2009-04-09 by Peter Blaise Monahon

.

Here's a nice Zeiss assessment of screen viewing of digitally captured images, extended quote:

CLN_MTF_Kurven_2_en.pdf

http://www.zeiss.com/C12567A8003B8B6F/EmbedTitelIntern/CLN_31_MTF_en/$File/CLN_MTF_Kurven_2_en.pdf

Viewing conditions

Most likely you are viewing the images
provided as examples on a computer
monitor. This gives us reason to look a
little more closely at how the monitor
properties may influence our perception of
the images.

Image size

The 12MP digital camera used here has a
Nyquist frequency of approx. 1400 line
pairs per image height (image height
being the short side of the 24x36 format;
think of a picture in landscape format). It
takes at least two pixels to display a line
pair made up of a bright and a dark line.
The camera has exactly 2832 pixels
(2x1416) on 24 mm of image height.
The monitor would have to have at least
as many pixels to be able to display this
image information free of losses. However
we will usually have to be satisfied with a
lesser monitor performance, e.g. 1600 x
1200 pixels. The monitor can therefore
only display parts of the full image without
losses.

If one runs Photoshop on a monitor with
1200 pixels in the vertical direction,
some of these pixels are taken up by the
menu bars and the net number of pixels
seen is, for example, only 1036 pixels.
In the 100% view, in which each pixel of
the data file is represented by a monitor
pixel, only approx. one third of the image
with a height of 2832 pixels is seen,
which corresponds to approx. 13% of the
area of the image.

If the monitor diagonal is for example 21"
= 54 cm, the size of the whole camera
image in the 100% view is 76 x 114 cm.
Even if our demonstration images are
smaller in absolute units (in order not to
let the file sizes grow towards infinity!)
you should always be aware that you are
looking at parts of a poster-sized image.

Viewing distance

If the monitor has 1200 pixels distributed
over an image height of 32.4 cm, it has 3.7
pixels per millimeter. Thus the resolution
of the monitor screen is approx. 2 Lp/mm.
In the (nearly) loss-free 100% view, this
also corresponds to the camera sensor
performance: the image with a height of
76 cm is magnified 31-fold as compared
to the camera image with a height of 24
mm. The sensor's resolution limit (Nyquist)
that is determined by the number of pixels
is just less than 60 Lp/mm.

Magnified 31-fold, this also corresponds to
approx. 2 Lp/mm.

Viewing the image on the monitor from a
distance of 50 cm, the maximum
resolving power of the eye at this
distance is approx. 4 Lp/mm. In simple
terms, this is about twice as good as the
monitor image.

For this reason, images in 100% view
will never appear perfectly sharp to our
eye. Both the performance limits of the
monitor and the giant magnification of
the image for the small viewing distance
give rise to a certain degree of softness
of the image.

Viewing a 100% view from a distance of
50 cm is a very critical view of the image.
For a more realistic assessment, the
viewed distance can be doubled, for
instance.

----------

Hmm ... a measured analysis -- cool!

.

Re: Prints versus screen images.

2009-04-09 by Jon Cone

At the risk of being accused of sarcasm, what about listening to a string orchestra in a concert hall or listening to a recording of a string orchestra in a concert hall but through the tiny internal speakers of an iPhone using the concert hall ambient settings of its iPod app?

Why is this group losing its focus on what makes black & white photography so extraordinary?  The Print.

Has it been that long for so many that the inherent beauty of an exquisitely crafted silver or carbon print is now lost to memory? Or is it because the ability to craft one is becoming a lost art as so many navigate to printing B&W with color inks on Canon, Epson, HP and Lexmark printers?


Jon Cone
InkjetMall.com

Re: [Digital BW] Re: Prints versus screen images.

2009-04-09 by Mark Savoia

I was kind of wondering if the original post was a late April Fools  
joke, just posted to make the hair on the back of our necks stand up.  
The thread sure did drift a bit.

Well said Jon!

Mark
http://www.stillrivereditions.com

On Apr 9, 2009, at 1:22 PM, Jon Cone wrote:

> Why is this group losing its focus on what makes black & white  
> photography so extraordinary?  The Print.



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

Re: [Digital BW] Re: Prints versus screen images.

2009-04-09 by Bruce Watson

Jon Cone wrote:
> Why is this group losing its focus on what makes black & white photography so extraordinary?  The Print.
>
> Has it been that long for so many that the inherent beauty of an exquisitely crafted silver or carbon print is now lost to memory? Or is it because the ability to craft one is becoming a lost art as so many navigate to printing B&W with color inks on Canon, Epson, HP and Lexmark printers?
>
>
> Jon Cone
> InkjetMall.com
>   

Once again, hitting the nail squarely on the head.
--
Bruce Watson

Re: Prints versus screen images.

2009-04-09 by Stephen Kobrin

Given what Mozart sounds like over an iPhone speaker that is a pretty  harsh judgment.  Are you saying that anyone who does not use Cone (or other carbon) inks can't be serious about making B&W prints?  Is  Epson's ABW mode really the road to perdition and ruin?

Steve

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Jon Cone" <jon@...> wrote:
Show quoted textHide quoted text
>
> At the risk of being accused of sarcasm, what about listening to a string orchestra in a concert hall or listening to a recording of a string orchestra in a concert hall but through the tiny internal speakers of an iPhone using the concert hall ambient settings of its iPod app?
> 
> Why is this group losing its focus on what makes black & white photography so extraordinary?  The Print.
> 
> Has it been that long for so many that the inherent beauty of an exquisitely crafted silver or carbon print is now lost to memory? Or is it because the ability to craft one is becoming a lost art as so many navigate to printing B&W with color inks on Canon, Epson, HP and Lexmark printers?
> 
> 
> Jon Cone
> InkjetMall.com
>

Re: [Digital BW] Re: Prints versus screen images.

2009-04-09 by Mark Savoia

Almost Black and White

Mark
http://www.stillrivereditions.com

On Apr 9, 2009, at 3:19 PM, Stephen Kobrin wrote:

> Epson's ABW



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

Re: Prints versus screen images.

2009-04-09 by Tyler Boley

as long as communities like this list consider themselves an eccentric niche, instead of projecting outwards the way the likes of Adams and White did before us, our interests and concerns will continue to be marginalized.
Possibly to the point of extinction.
That would be a shame. By the way, Helen Levitt passed last week, another luminary.
Tyler

 --- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Jon Cone" <jon@...> wrote:
Show quoted textHide quoted text
>
> At the risk of being accused of sarcasm, what about listening to a string orchestra in a concert hall or listening to a recording of a string orchestra in a concert hall but through the tiny internal speakers of an iPhone using the concert hall ambient settings of its iPod app?
> 
> Why is this group losing its focus on what makes black & white photography so extraordinary?  The Print.
> 
> Has it been that long for so many that the inherent beauty of an exquisitely crafted silver or carbon print is now lost to memory? Or is it because the ability to craft one is becoming a lost art as so many navigate to printing B&W with color inks on Canon, Epson, HP and Lexmark printers?
> 
> 
> Jon Cone
> InkjetMall.com
>

Re: [Digital BW] Re: Prints versus screen images.

2009-04-09 by Michael Vendrell

Yes, agreed!  With both.  The role of craft - that is the Hand of the artist (or some facsimile of such) is in my opinion an integral part of art as we have come to know and love it. We started down this rabbit hole of "good-enough as [rovided to us by machines of loving grace"  not so much with the digital revolution but when we began to accept the "conceptual" as sufficient ... Not a development I have ever been happy about or is the redefinition of art something that keeps with centuries of tradition, much less a few decades...

Michael Vendrell 

--- On Thu, 4/9/09, Tyler Boley <tyler@...> wrote:
Show quoted textHide quoted text
From: Tyler Boley <tyler@...>
Subject: [Digital BW] Re: Prints versus screen images.
To: DigitalBlackandWhiteThePrint@yahoogroups.com
Date: Thursday, April 9, 2009, 2:23 PM











    
            
            


      
      as long as communities like this list consider themselves an eccentric niche, instead of projecting outwards the way the likes of Adams and White did before us, our interests and concerns will continue to be marginalized.

Possibly to the point of extinction.

That would be a shame. By the way, Helen Levitt passed last week, another luminary.

Tyler



--- In DigitalBlackandWhit eThePrint@ yahoogroups. com, "Jon Cone" <jon@...> wrote:

>

> At the risk of being accused of sarcasm, what about listening to a string orchestra in a concert hall or listening to a recording of a string orchestra in a concert hall but through the tiny internal speakers of an iPhone using the concert hall ambient settings of its iPod app?

> 

> Why is this group losing its focus on what makes black & white photography so extraordinary?  The Print.

> 

> Has it been that long for so many that the inherent beauty of an exquisitely crafted silver or carbon print is now lost to memory? Or is it because the ability to craft one is becoming a lost art as so many navigate to printing B&W with color inks on Canon, Epson, HP and Lexmark printers?

> 

> 

> Jon Cone

> InkjetMall.com

>




 

      

    
    
	
	 
	
	








	


	
	


      

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

Re: [Digital BW] Re: Prints versus screen images.

2009-04-09 by C D Tobie

On Apr 9, 2009, at 3:19 PM, Stephen Kobrin wrote:

> Given what Mozart sounds like over an iPhone speaker that is a  
> pretty  harsh judgment.  Are you saying that anyone who does not use  
> Cone (or other carbon) inks can't be serious about making B&W  
> prints?  Is  Epson's ABW mode really the road to perdition and ruin?

Thus says the Quadtone evangelist... <G>

C. David Tobie
Global Product Technology Manager
Digital Imaging & Home Theater
CDTobie@...


  ----------



Datacolor
www.datacolor.com/Spyder3




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

Re: [Digital BW] Re: Prints versus screen images.

2009-04-09 by Michael Vendrell

Sorry - a few edits...


Yes, agreed!  With both   The role of craft - that is the Hand of the Artist (or some facsimile of such) is in my opinion an integral part of Art as we have come to know and love it. We started down this rabbit
hole of "good-enough as provided to us by machines of loving grace" 
not so much with the digital revolution but when we began to accept the
"conceptual" as sufficient ... Not a development I have ever been happy
about or is this redefinition of Art something that keeps with centuries
of tradition, much less a few decades...



Michael Vendrell 

--- On Thu, 4/9/09, Michael Vendrell <mjvendrell2@...> wrote:
Show quoted textHide quoted text
From: Michael Vendrell <mjvendrell2@...>
Subject: Re: [Digital BW] Re: Prints versus screen images.
To: DigitalBlackandWhiteThePrint@yahoogroups.com
Date: Thursday, April 9, 2009, 3:02 PM











    
            
            


      
      Yes, agreed!  With both.  The role of craft - that is the Hand of the artist (or some facsimile of such) is in my opinion an integral part of art as we have come to know and love it. We started down this rabbit hole of "good-enough as [rovided to us by machines of loving grace"  not so much with the digital revolution but when we began to accept the "conceptual" as sufficient ... Not a development I have ever been happy about or is the redefinition of art something that keeps with centuries of tradition, much less a few decades...



Michael Vendrell 



--- On Thu, 4/9/09, Tyler Boley <tyler@tylerboley. com> wrote:



From: Tyler Boley <tyler@tylerboley. com>

Subject: [Digital BW] Re: Prints versus screen images.

To: DigitalBlackandWhit eThePrint@ yahoogroups. com

Date: Thursday, April 9, 2009, 2:23 PM



as long as communities like this list consider themselves an eccentric niche, instead of projecting outwards the way the likes of Adams and White did before us, our interests and concerns will continue to be marginalized.



Possibly to the point of extinction.



That would be a shame. By the way, Helen Levitt passed last week, another luminary.



Tyler



--- In DigitalBlackandWhit eThePrint@ yahoogroups. com, "Jon Cone" <jon@...> wrote:



>



> At the risk of being accused of sarcasm, what about listening to a string orchestra in a concert hall or listening to a recording of a string orchestra in a concert hall but through the tiny internal speakers of an iPhone using the concert hall ambient settings of its iPod app?



> 



> Why is this group losing its focus on what makes black & white photography so extraordinary?  The Print.



> 



> Has it been that long for so many that the inherent beauty of an exquisitely crafted silver or carbon print is now lost to memory? Or is it because the ability to craft one is becoming a lost art as so many navigate to printing B&W with color inks on Canon, Epson, HP and Lexmark printers?



> 



> 



> Jon Cone



> InkjetMall.com



>



	

	 

	

	



	



	

	



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




 

      

    
    
	
	 
	
	








	


	
	


      

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

Re: [Digital BW] Re: Prints versus screen images.

2009-04-09 by Gary Weaver

The silver print is still my standard. But I can't have everything at all times  :  ) I was into lamp blacks and india type inks way before I found photography, so I accept what it can do without any real qualms. Inks are just a old friend in a different process.

gar

*********** REPLY SEPARATOR  ***********
Show quoted textHide quoted text
On 4/9/2009 at 5:22 PM Jon Cone wrote:

>At the risk of being accused of sarcasm, what about listening to a string
>orchestra in a concert hall or listening to a recording of a string
>orchestra in a concert hall but through the tiny internal speakers of an
>iPhone using the concert hall ambient settings of its iPod app?
>
>Why is this group losing its focus on what makes black & white photography
>so extraordinary?  The Print.
>
>Has it been that long for so many that the inherent beauty of an
>exquisitely crafted silver or carbon print is now lost to memory? Or is it
>because the ability to craft one is becoming a lost art as so many
>navigate to printing B&W with color inks on Canon, Epson, HP and Lexmark
>printers?
>
>
>Jon Cone
>InkjetMall.com
>
>

Re: Prints versus screen images.

2009-04-09 by Jon Cone

No, using Epson inks to make B&W is the road to color shifted images in a short time.  :)

What I was referring to was looking at prints or looking at computer images. The original discussion was about prints versus screen images.

So the comparison was to listening to live music or a recording of live music on an iPhone... a stretch I admit. even a tad sarcastic...  The print is always what it is. It is the print. But if we begin to look at images on displays - they will end up one day on iPhones. A display is what it is - a moving target.

Jon



--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Stephen Kobrin" <kobrins@...> wrote:
Show quoted textHide quoted text
>
> Given what Mozart sounds like over an iPhone speaker that is a pretty  harsh judgment.  Are you saying that anyone who does not use Cone (or other carbon) inks can't be serious about making B&W prints?  Is  Epson's ABW mode really the road to perdition and ruin?
> 
> Steve
> 
> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Jon Cone" <jon@> wrote:
> >
> > At the risk of being accused of sarcasm, what about listening to a string orchestra in a concert hall or listening to a recording of a string orchestra in a concert hall but through the tiny internal speakers of an iPhone using the concert hall ambient settings of its iPod app?
> > 
> > Why is this group losing its focus on what makes black & white photography so extraordinary?  The Print.
> > 
> > Has it been that long for so many that the inherent beauty of an exquisitely crafted silver or carbon print is now lost to memory? Or is it because the ability to craft one is becoming a lost art as so many navigate to printing B&W with color inks on Canon, Epson, HP and Lexmark printers?
> > 
> > 
> > Jon Cone
> > InkjetMall.com
> >
>

[Digital BW] Re: Prints versus screen images.

2009-04-09 by Jon Cone

So Jah Say.
Not one of my prints, 
shall sit in the light, 
and turn red.

;)

Jon




--- In DigitalBlackandWhiteThePrint@yahoogroups.com, C D Tobie <CDTobie@...> wrote:
Show quoted textHide quoted text
>
> 
> On Apr 9, 2009, at 3:19 PM, Stephen Kobrin wrote:
> 
> > Given what Mozart sounds like over an iPhone speaker that is a  
> > pretty  harsh judgment.  Are you saying that anyone who does not use  
> > Cone (or other carbon) inks can't be serious about making B&W  
> > prints?  Is  Epson's ABW mode really the road to perdition and ruin?
> 
> Thus says the Quadtone evangelist... <G>
> 
> C. David Tobie
> Global Product Technology Manager
> Digital Imaging & Home Theater
> CDTobie@...
> 
> 
>   ----------
> 
> 
> 
> Datacolor
> www.datacolor.com/Spyder3
> 
> 
> 
> 
> [Non-text portions of this message have been removed]
>

Re: [Digital BW] Re: Prints versus screen images.

2009-04-09 by Cdtobie

Gosh, I've been doing it as long as there gave been printers with two  
grays in them, on a wide range of media, some matted and framed, some  
not, and I've never seen a single one of my prints turn red, or any  
other color. Mayhaps you overstate the threat?

C. D. Tobie
Global Product Technology Mngr.
Digital Imaging & Home Theater
Datacolor.com
CDTobie@...
Show quoted textHide quoted text
On Apr 9, 2009, at 5:45 PM, "Jon Cone" <jon@...> wrote:

> No, using Epson inks to make B&W is the road to color shifted images  
> in a short time.  :)
>
> What I was referring to was looking at prints or looking at computer  
> images. The original discussion was about prints versus screen images.
>
> So the comparison was to listening to live music or a recording of  
> live music on an iPhone... a stretch I admit. even a tad  
> sarcastic...  The print is always what it is. It is the print. But  
> if we begin to look at images on displays - they will end up one day  
> on iPhones. A display is what it is - a moving target.
>
> Jon
>
>
>
> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Stephen  
> Kobrin" <kobrins@...> wrote:
>>
>> Given what Mozart sounds like over an iPhone speaker that is a  
>> pretty  harsh judgment.  Are you saying that anyone who does not  
>> use Cone (or other carbon) inks can't be serious about making B&W  
>> prints?  Is  Epson's ABW mode really the road to perdition and ruin?
>>
>> Steve
>>
>> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Jon Cone"  
>> <jon@> wrote:
>>>
>>> At the risk of being accused of sarcasm, what about listening to a  
>>> string orchestra in a concert hall or listening to a recording of  
>>> a string orchestra in a concert hall but through the tiny internal  
>>> speakers of an iPhone using the concert hall ambient settings of  
>>> its iPod app?
>>>
>>> Why is this group losing its focus on what makes black & white  
>>> photography so extraordinary?  The Print.
>>>
>>> Has it been that long for so many that the inherent beauty of an  
>>> exquisitely crafted silver or carbon print is now lost to memory?  
>>> Or is it because the ability to craft one is becoming a lost art  
>>> as so many navigate to printing B&W with color inks on Canon,  
>>> Epson, HP and Lexmark printers?
>>>
>>>
>>> Jon Cone
>>> InkjetMall.com
>>>
>>
>
>
>
>
> ------------------------------------
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> Y OTHER MATTER RELATING TO THE DIGITAL BW, THE PRINT YAHOO GROUP.
> Yahoo! Groups Links
>
>
>

[Digital BW] Re: Prints versus screen images.

2009-04-10 by john dean

Well I wouldn't lump the HPZ in the same hole as Epson and Canon for black and white high end prints. I've been doing some gelatin silver neutral knock offs this week with Innova Satin fiber. With the gloss enhancer channel and the three gray channels out of grayscale (no color inks used) it pretty much kicks ass. The Hannemuhle Photorag Baryta is great also.

Now should HP have added 4 grays to this 12 channel set instead of the green or the blue, hell yes, hell yes. Hopefully one day they will wake up and do something like that, but I won't hold my breath.

Jon's Piezography on Matte papers beats everything however as an world in itself, especially in the high values with ultra subtle rendition. He deserves a medal for that and I hope they will be available for years to come.

john 




--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Gary Weaver" <garww@...> wrote:
Show quoted textHide quoted text
>
> The silver print is still my standard. But I can't have everything at all times  :  ) I was into lamp blacks and india type inks way before I found photography, so I accept what it can do without any real qualms. Inks are just a old friend in a different process.
> 
> gar

Re: [Digital BW] Re: Prints versus screen images.

2009-04-10 by Gary Weaver

I had one particular single weight I loved to ferrotype, but no one else seems to like it. For matt, I have no complaints with ink. Peering into the baked emulsion is what I like - very much like the jelly smear of thick kodachrome. I foresee "baking" ink prints, too, but I'm in no position to follow the experiments.

gar

*********** REPLY SEPARATOR  ***********
Show quoted textHide quoted text
On 4/10/2009 at 1:20 AM john dean wrote:

>Well I wouldn't lump the HPZ in the same hole as Epson and Canon for
>black and white high end prints. I've been doing some gelatin silver
>neutral knock offs this week with Innova Satin fiber. With the gloss
>enhancer channel and the three gray channels out of grayscale (no color
>inks used) it pretty much kicks ass. The Hannemuhle Photorag Baryta is
>great also.
>
>Now should HP have added 4 grays to this 12 channel set instead of the
>green or the blue, hell yes, hell yes. Hopefully one day they will wake up
>and do something like that, but I won't hold my breath.
>
>Jon's Piezography on Matte papers beats everything however as an world in
>itself, especially in the high values with ultra subtle rendition. He
>deserves a medal for that and I hope they will be available for years to
>come.
>
>john

[Digital BW] Re: Prints versus screen images.

2009-04-10 by Tyler Boley

David, I have B&W darkroom RC prints that are decades old. Far far older than any 2 gray Epson prints we probably both have laying around. They look to me like the day they are made. This hardly qualifies the quickly washed RC prints as a wise choice of process or serious work, final prints of importance, I'm sure you would agree.
In those olden days of lore, we had even the big resented corporate yellow, Kodak, providing information about the longevity concerns of our work, giving instructions for recommended double fixes, hypoclear treatments, and dilute selenium toning for work that "matters". At the same time they had rapid processes for work that had to get into a newspaper the next day. This feels like a far cry from the climate these days, where options pursued by those of us for whom no solution has been provided by the few major players, have even been discouraged by them. Kodak et al also had many products that made many many users happy, except for Ansel, Paul, etc etc.. Fine, no one said those should not be popular. But they also worked hard to make those few masters happy as well. I mean masters, not popular commercial portrait shooters.
The solutions provided directly by Epson, utilizing the tools your company develops, provides you with results you and your clients are satisfied, and I'm sure very pleased with.
You have said in the past you are actually a fan of Jon's inks, you have many friends over the years who have utilized many alternative solutions like those discussed on this list.
I just don't understand why, when some in the B&W ink community do find the OEM solutions meet their needs, and express concern about the future of B&W printing, and find other alternatives more suited to them and their concerns and those shared historically by the fine art B&W community, does such resistance arise.
Are we supposed to be argued out of our artistic aspirations and the highest standards handed down for generations in our medium?
In an off list exchange with Paul Roark just a few weeks ago, I found myself realizing that for the fist time in my photographic printing life, I have gone for years now, thrilled with the process I now use. I have tweaked it of course, and continue to learn how to use it to make my work alive on paper. But I have not restlessly left it behind, changed paper, inks, software, anything, as I have done ad nauseum for years up to this point.
So I'm supposed to be argued into leaving that behind, for something I know has lower technical photographic excellence, and feel has less artistic beauty?
Those happy with using a the current state of the art of B&W with a color printer, great, be happy, your needs are met and exceeded. Ignore those of us looking for something else, go make art. We do not all have the same needs, I've said it again and again. I would hope you would also wish the same for those of us also pursuing our unique concerns without taking offense.

Tyler
http://www.custom-digital.com/

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, Cdtobie <CDTobie@...> wrote:
Show quoted textHide quoted text
>
> Gosh, I've been doing it as long as there gave been printers with two  
> grays in them, on a wide range of media, some matted and framed, some  
> not, and I've never seen a single one of my prints turn red, or any  
> other color. Mayhaps you overstate the threat?
> 
> C. D. Tobie
> Global Product Technology Mngr.
> Digital Imaging & Home Theater
> Datacolor.com
> CDTobie@...
> 
> On Apr 9, 2009, at 5:45 PM, "Jon Cone" <jon@...> wrote:
> 
> > No, using Epson inks to make B&W is the road to color shifted images  
> > in a short time.  :)
> >
> > What I was referring to was looking at prints or looking at computer  
> > images. The original discussion was about prints versus screen images.
> >
> > So the comparison was to listening to live music or a recording of  
> > live music on an iPhone... a stretch I admit. even a tad  
> > sarcastic...  The print is always what it is. It is the print. But  
> > if we begin to look at images on displays - they will end up one day  
> > on iPhones. A display is what it is - a moving target.
> >
> > Jon
> >
> >
> >
> > --- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Stephen  
> > Kobrin" <kobrins@> wrote:
> >>
> >> Given what Mozart sounds like over an iPhone speaker that is a  
> >> pretty  harsh judgment.  Are you saying that anyone who does not  
> >> use Cone (or other carbon) inks can't be serious about making B&W  
> >> prints?  Is  Epson's ABW mode really the road to perdition and ruin?
> >>
> >> Steve
> >>
> >> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Jon Cone"  
> >> <jon@> wrote:
> >>>
> >>> At the risk of being accused of sarcasm, what about listening to a  
> >>> string orchestra in a concert hall or listening to a recording of  
> >>> a string orchestra in a concert hall but through the tiny internal  
> >>> speakers of an iPhone using the concert hall ambient settings of  
> >>> its iPod app?
> >>>
> >>> Why is this group losing its focus on what makes black & white  
> >>> photography so extraordinary?  The Print.
> >>>
> >>> Has it been that long for so many that the inherent beauty of an  
> >>> exquisitely crafted silver or carbon print is now lost to memory?  
> >>> Or is it because the ability to craft one is becoming a lost art  
> >>> as so many navigate to printing B&W with color inks on Canon,  
> >>> Epson, HP and Lexmark printers?
> >>>
> >>>
> >>> Jon Cone
> >>> InkjetMall.com
> >>>

[Digital BW] Re: Prints versus screen images.

2009-04-10 by Jon Cone

David,

Mayhaps not, but I would not suspect that you would notice any changes in your work in 5 years. But, it's not black and white like you are trying to make it either. (pun intended).  The threat is relative to the intent of the photographer and the perceived value of their work. For others it doesn't really matter two pickles.

Some photographers (and certainly not all) would NOT consider the 5 years that you have been working with Epson K3 inks to be a long time. In regards to the life of a b&w print and its ability to retain its color tone over time, 10 - 15 years is not considered to be a long time. It's like a drop in a tray of fixer. 30 years however, is also not a long time for many to begin noticing color shift in their b&w prints. It's wicked premature in terms of the history of b&w, but not out of line with the history of dye-coupler and other chemical color photography. 

That is the market that Epson advertises the convenience of ABW to, and uses a stability rating system to back it that was evolved for dye-coupler photography and which admittedly does not have the ability to detect, much less evaluate color shift in multi-gray/color inkjet inks. It is also the same market that your company is focused on.

And yet at the same time I can easily recognize the validity for the majority of amateur b&w photographers, and Epson certainly knows this, that the print needs only to look like the photographer intended for a few months or a few years. A decade or two would be a blessing to a smaller group. And if it ends up like an old red-stained color photograph does but with tons more retained detail - some'll be as happy as pumpkins in early Summer. 

But I hope that this B&W:The Print did not evolve into a color print group that makes the occasional b&w print. It certainly started out as a monochrome inks only group. If it has evolved into color printers making b&w prints, then you have certainly brought your color management soap-box to the right place.

Anyway in closer regards to the original subject matter, if we evolve into a culture which views the importance of the image on the display as more important than the print, it may have become because the screen image can be made to retain its initial color tone whereas the b&w print made in part with color inks cannot. I would not be at all surprised to see Epson evolve from a printer manufacturer to some sort of display manufacturer that eventually swallows and absorbs your company. 

This has been a most interesting and revealing topic.

Jon
retained image evangelist





--- In DigitalBlackandWhiteThePrint@yahoogroups.com, Cdtobie <CDTobie@...> wrote:
Show quoted textHide quoted text
>
> Gosh, I've been doing it as long as there gave been printers with two  
> grays in them, on a wide range of media, some matted and framed, some  
> not, and I've never seen a single one of my prints turn red, or any  
> other color. Mayhaps you overstate the threat?
> 
> C. D. Tobie
> Global Product Technology Mngr.
> Digital Imaging & Home Theater
> Datacolor.com
> CDTobie@...
> 
> On Apr 9, 2009, at 5:45 PM, "Jon Cone" <jon@...> wrote:
> 
> > No, using Epson inks to make B&W is the road to color shifted images  
> > in a short time.  :)
> >
> > What I was referring to was looking at prints or looking at computer  
> > images. The original discussion was about prints versus screen images.
> >
> > So the comparison was to listening to live music or a recording of  
> > live music on an iPhone... a stretch I admit. even a tad  
> > sarcastic...  The print is always what it is. It is the print. But  
> > if we begin to look at images on displays - they will end up one day  
> > on iPhones. A display is what it is - a moving target.
> >
> > Jon
> >
> >
> >
> > --- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Stephen  
> > Kobrin" <kobrins@> wrote:
> >>
> >> Given what Mozart sounds like over an iPhone speaker that is a  
> >> pretty  harsh judgment.  Are you saying that anyone who does not  
> >> use Cone (or other carbon) inks can't be serious about making B&W  
> >> prints?  Is  Epson's ABW mode really the road to perdition and ruin?
> >>
> >> Steve
> >>
> >> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Jon Cone"  
> >> <jon@> wrote:
> >>>
> >>> At the risk of being accused of sarcasm, what about listening to a  
> >>> string orchestra in a concert hall or listening to a recording of  
> >>> a string orchestra in a concert hall but through the tiny internal  
> >>> speakers of an iPhone using the concert hall ambient settings of  
> >>> its iPod app?
> >>>
> >>> Why is this group losing its focus on what makes black & white  
> >>> photography so extraordinary?  The Print.
> >>>
> >>> Has it been that long for so many that the inherent beauty of an  
> >>> exquisitely crafted silver or carbon print is now lost to memory?  
> >>> Or is it because the ability to craft one is becoming a lost art  
> >>> as so many navigate to printing B&W with color inks on Canon,  
> >>> Epson, HP and Lexmark printers?
> >>>
> >>>
> >>> Jon Cone
> >>> InkjetMall.com

Re: Prints versus screen images.

2009-04-10 by Jon Cone

Thanks John, 

I'm obviously going to be the Charleton Heston of b&w printing.  A weird thought but none the less satisfying to know.  ROFL

Jon
paper evangelist


--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "john dean" <deanwork2003@...> wrote:
Show quoted textHide quoted text
>
> Jon's Piezography on Matte papers beats everything however as an world in itself, especially in the high values with ultra subtle rendition. He deserves a medal for that and I hope they will be available for years to come.
> 
> john 
> 
>

Re: [Digital BW] Re: Prints versus screen images.

2009-04-10 by C D Tobie

On Apr 10, 2009, at 1:09 AM, Tyler Boley wrote:

> David, I have B&W darkroom RC prints that are decades old. Far far  
> older than any 2 gray Epson prints we probably both have laying  
> around.

Understood, and agreed. But there is a tendency to talk about prints  
turning red, like its a daily occurance, guaranteed to happen to  
everything not QuadToned. I was simply pointing out that its not on  
that scale or schedule...

C. David Tobie
Global Product Technology Manager
Digital Imaging & Home Theater
CDTobie@...


  ----------



Datacolor
www.datacolor.com/Spyder3




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

Re: [Digital BW] Re: Prints versus screen images.

2009-04-10 by C D Tobie

On Apr 10, 2009, at 1:39 AM, Jon Cone wrote:

> I would not be at all surprised to see Epson evolve from a printer  
> manufacturer to some sort of display manufacturer that eventually  
> swallows and absorbs your company.

Actually, one of Epson's more bizarre products was a large screen TV  
(back when such devices were multiple feet deep, and very expensive)  
that contained... wait for it... a printer! Not a raging success. I  
bought a 32 inch LCD TV a few days ago for $369, so Epson can make  
more money from selling inkjet ink, than from selling TVs, these days.  
On that front LG (who most people hadn't even heard of a couple of  
years ago) is a far more likely winner than Epson. I'll start working  
on my Korean...

C. David Tobie
Global Product Technology Manager
Digital Imaging & Home Theater
CDTobie@...


  ----------



Datacolor
www.datacolor.com/Spyder3




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

Re: [Digital BW] Re: Prints versus screen images.

2009-04-10 by C D Tobie

On Apr 10, 2009, at 1:40 AM, Jon Cone wrote:

> I'm obviously going to be the Charleton Heston of b&w printing.  A  
> weird thought but none the less satisfying to know.  ROFL

Is this a Moses on the Mount reference, or an NRA one? <G>

C. David Tobie
Global Product Technology Manager
Digital Imaging & Home Theater
CDTobie@...


  ----------



Datacolor
www.datacolor.com/Spyder3




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

Re: [Digital BW] Re: Prints versus screen images.

2009-04-10 by Mark Savoia

LG= less good
:)

Mark
http://www.stillrivereditions.com

On Apr 10, 2009, at 9:55 AM, C D Tobie wrote:

> On that front LG (who most people hadn't even heard of a couple of
> years ago)



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

Re: [Digital BW] Re: Prints versus screen images.

2009-04-10 by C D Tobie

On Apr 10, 2009, at 9:57 AM, Mark Savoia wrote:

> LG= less good

You must not be a fan of Apple LCDs then...

C. David Tobie
Global Product Technology Manager
Digital Imaging & Home Theater
CDTobie@...


  ----------



Datacolor
www.datacolor.com/Spyder3




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

[Digital BW] Re: Prints versus screen images.

2009-04-10 by john dean

I've actually seen these Ultrachrome K2 black and white prints shift within the span of a week in an exhibition where fairly bright daylight was present. Not ultra bright, but a bit over 450 lux. I'm not kidding and they were framed behind glass. It was a big embarrassment for the photographer. I'm glad I didn't print them. But I did spray ALL the Ultrachrome prints I did at that time with  with a uv coating and always used QTR to reduce the color content. But it is always there to some degree when you are dealing with brown "gray" inks and trying to achieve neutral color in the whole range. 

I have also seen tests I've had around for a few years on a bulletin board shift, usually toward cyan as the light magenta goes, or toward blue. No chemicals or pollution in my studio. Of course these were not behind glass, or sprayed, but to me that shouldn't be necessary.

john





--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Jon Cone" <jon@...> wrote:
Show quoted textHide quoted text
>
> David,
> 
> Mayhaps not, but I would not suspect that you would notice any changes in your work in 5 years. But, it's not black and white like you are trying to make it either. (pun intended).  The threat is relative to the intent of the photographer and the perceived value of their work. For others it doesn't really matter two pickles.

Re: Prints versus screen images.

2009-04-10 by Harry Lockwood

Depends what you're looking for in the print.  Since I shoot and print only
B&W, I don't expect to reproduce the image temporarily imprinted on my
retina, nor is that my goal.  The color gamut of my screen is also
relatively unimportant, while its grayscale tonal reproduction is quite
relevant.
I guess my position is that I don't need no stinkin' color.  ;-)

That's one of my reasons for participating in this group.

Harry
-- 

Harry F. Lockwood

[Digital BW] Re: Prints versus screen images.

2009-04-10 by Tyler Boley

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, C D Tobie <CDTobie@...> wrote:
...
> Actually, one of Epson's more bizarre products was a large screen TV  
...

I have one, 47". Epson gave it to me as a prize in a print competition. Old story for some here.

Their comments-

congratulations?
no

Nice work?
no

Beautiful prints?
no

I see you are not using our ink or paper?
Oh yeah, you bet, right off the bat.
Not even a "hi I'm Tom".

The next year they changed the rules.

We like the big HDTV though, really.
"Jeff Beck performing this week…Live at Ronnie Scott's" on Blue Ray, absolute killer.

Tyler

Re: [Digital BW] Re: Prints versus screen images.

2009-04-11 by Cdtobie

So that's how they for rid of those...

Gee, do you ever print with it?

C. D. Tobie
Global Product Technology Mngr.
Digital Imaging & Home Theater
Datacolor.com
CDTobie@...
Show quoted textHide quoted text
On Apr 10, 2009, at 1:19 PM, "Tyler Boley" <tyler@...> wrote:

> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, C D Tobie  
> <CDTobie@...> wrote:
> ...
>> Actually, one of Epson's more bizarre products was a large screen TV
> ...
>
> I have one, 47". Epson gave it to me as a prize in a print  
> competition. Old story for some here.
>
> Their comments-
>
> congratulations?
> no
>
> Nice work?
> no
>
> Beautiful prints?
> no
>
> I see you are not using our ink or paper?
> Oh yeah, you bet, right off the bat.
> Not even a "hi I'm Tom".
>
> The next year they changed the rules.
>
> We like the big HDTV though, really.
> "Jeff Beck performing this week…Live at Ronnie Scott's" on Blue Ray, 
>  absolute killer.
>
> Tyler
>
>
>
> ------------------------------------
>
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>
>
>

[Digital BW] Re: Prints versus screen images.

2009-04-11 by Jon Cone

lol  :)

I meant the NRA Heston with the thought of a carbon b&w print being pried from my dead cold hand.

...but Moses on the Mount works, too. Perfect time of year to remember Moses.

Thou shalt not mix carbon with color inks.

Thou shalt not need wait more than 10-30 years before your ABW prints turn red (or blue if you select the "neutral").

Thou shalt not mind David Tobie.  ;)

Jon


--- In DigitalBlackandWhiteThePrint@yahoogroups.com, C D Tobie <CDTobie@...> wrote:
Show quoted textHide quoted text
>
> 
> On Apr 10, 2009, at 1:40 AM, Jon Cone wrote:
> 
> > I'm obviously going to be the Charleton Heston of b&w printing.  A  
> > weird thought but none the less satisfying to know.  ROFL
> 
> Is this a Moses on the Mount reference, or an NRA one? <G>
> 
> C. David Tobie
> Global Product Technology Manager
> Digital Imaging & Home Theater
> CDTobie@...
> 
> 
>   ----------
> 
> 
> 
> Datacolor
> www.datacolor.com/Spyder3
> 
> 
> 
> 
> [Non-text portions of this message have been removed]
>

Re: [Digital BW] Re: Prints versus screen images: A Question

2009-04-11 by Gerald Davey

I'm new to this group but starting to follow this discussion pending  
some purchase decisions. It seems to me that if there are apparent  
color shifts even remotely that rapidly in the "neutral" Epson K2 or  
K3 inks, that it's necessarily the case that there are shifts in the  
remaining color pigment inks as well. Thus, with the Cone Color inks  
the statement that they are 100% pigment vs. presumably partial dye  
content in the Epson inks could be crucial, all else being equal (if  
it ever is!). Is this consistent with any other's experience?

Jerry D.



On Apr 10, 2009, at 10:25 AM, john dean wrote:

>
>
> I've actually seen these Ultrachrome K2 black and white prints  
> shift within the span of a week in an exhibition where fairly  
> bright daylight was present. Not ultra bright, but a bit over 450  
> lux. I'm not kidding and they were framed behind glass. It was a  
> big embarrassment for the photographer. I'm glad I didn't print  
> them. But I did spray ALL the Ultrachrome prints I did at that time  
> with with a uv coating and always used QTR to reduce the color  
> content. But it is always there to some degree when you are dealing  
> with brown "gray" inks and trying to achieve neutral color in the  
> whole range.
>
> I have also seen tests I've had around for a few years on a  
> bulletin board shift, usually toward cyan as the light magenta  
> goes, or toward blue. No chemicals or pollution in my studio. Of  
> course these were not behind glass, or sprayed, but to me that  
> shouldn't be necessary.
>
> john
>
> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Jon Cone"  
> <jon@...> wrote:
> >
> > David,
> >
> > Mayhaps not, but I would not suspect that you would notice any  
> changes in your work in 5 years. But, it's not black and white like  
> you are trying to make it either. (pun intended). The threat is  
> relative to the intent of the photographer and the perceived value  
> of their work. For others it doesn't really matter two pickles.
>
>
> 



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

Re: [Digital BW] Re: Prints versus screen images.

2009-04-11 by Cdtobie

But wasn't there something about not worshipping graven images in  
there as well?

C. D. Tobie
Global Product Technology Mngr.
Digital Imaging & Home Theater
Datacolor.com
CDTobie@...
Show quoted textHide quoted text
On Apr 11, 2009, at 1:01 PM, "Jon Cone" <jon@...> wrote:

> lol  :)
>
> I meant the NRA Heston with the thought of a carbon b&w print being  
> pried from my dead cold hand.
>
> ...but Moses on the Mount works, too. Perfect time of year to  
> remember Moses.
>
> Thou shalt not mix carbon with color inks.
>
> Thou shalt not need wait more than 10-30 years before your ABW  
> prints turn red (or blue if you select the "neutral").
>
> Thou shalt not mind David Tobie.  ;)
>
> Jon
>
>
> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, C D Tobie  
> <CDTobie@...> wrote:
>>
>>
>> On Apr 10, 2009, at 1:40 AM, Jon Cone wrote:
>>
>>> I'm obviously going to be the Charleton Heston of b&w printing.  A
>>> weird thought but none the less satisfying to know.  ROFL
>>
>> Is this a Moses on the Mount reference, or an NRA one? <G>
>>
>> C. David Tobie
>> Global Product Technology Manager
>> Digital Imaging & Home Theater
>> CDTobie@...
>>
>>
>>  ----------
>>
>>
>>
>> Datacolor
>> www.datacolor.com/Spyder3
>>
>>
>>
>>
>> [Non-text portions of this message have been removed]
>>
>
>
>
>
> ------------------------------------
>
> Please visit the Group Homepage to check the Files, and other  
> resources as they are often being updated.
>
> http://groups.yahoo.com/group/DigitalBlackandWhiteThePrint
>
> If you wish to receive no emails or just a daily digest, or you wish  
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>
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> - Good manners are required at all time. No personal attacks or  
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> B&W printing. Users who persistently make off-topic posts may be  
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> PRINT YAHOO! GROUP YOU EXPRESSLY UNDERSTAND AND AGREE THAT THE “OWNE 
> R” AND “MODERATORS” OF DIGITAL BW, THE PRINT YAHOO GROUP SHALL  
> NOT BE LIABLE TO YOU FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL,  
> CONSEQUENTIAL OR EXEMPLARY DAMAGES, INCLUDING BUT NOT LIMITED TO, DA 
> MAGES FOR LOSS OF PROFITS, GOODWILL, USE, DATA OR OTHER INTANGIBLE L 
> OSSES (EVEN IF THE  “OWNER” AND “MODERATORS” OF DIGITAL BW,  
> THE PRINT YAHOO GROUP HAVE BEEN ADVISED OF THE POSSIBILITY OF SUCH D 
> AMAGES), RESULTING FROM: (i) THE USE OR THE INABILITY TO USE THE DIG 
> ITAL BW, THE PRINT YAHOO GROUP; (ii) UNAUTHORIZED ACCESS TO OR ALTER 
> ATION OF YOUR TRANSMISSIONS OR DATA; (iii) STATEMENTS OR CONDUCT OF  
> ANY THIRD PARTY ON THE DIGITAL BW, THE PRINT YAHOO GROUP; OR (iv) AN 
> Y OTHER MATTER RELATING TO THE DIGITAL BW, THE PRINT YAHOO GROUP.
> Yahoo! Groups Links
>
>
>

[Digital BW] Re: Prints versus screen images.

2009-04-12 by Jon Cone

Yes. I am sorry. David, stop worshiping those graven images.

If it makes you feel better, I will do it as Heston.

David, thou shalt not worship graven images, especially the blue one.

Jon


--- In DigitalBlackandWhiteThePrint@yahoogroups.com, Cdtobie <CDTobie@...> wrote:
Show quoted textHide quoted text
>
> But wasn't there something about not worshipping graven images in  
> there as well?
> 
> C. D. Tobie
> Global Product Technology Mngr.
> Digital Imaging & Home Theater
> Datacolor.com
> CDTobie@...
> 
> On Apr 11, 2009, at 1:01 PM, "Jon Cone" <jon@...> wrote:
> 
> > lol  :)
> >
> > I meant the NRA Heston with the thought of a carbon b&w print being  
> > pried from my dead cold hand.
> >
> > ...but Moses on the Mount works, too. Perfect time of year to  
> > remember Moses.
> >
> > Thou shalt not mix carbon with color inks.
> >
> > Thou shalt not need wait more than 10-30 years before your ABW  
> > prints turn red (or blue if you select the "neutral").
> >
> > Thou shalt not mind David Tobie.  ;)
> >
> > Jon
> >
> >
> > --- In DigitalBlackandWhiteThePrint@yahoogroups.com, C D Tobie  
> > <CDTobie@> wrote:
> >>
> >>
> >> On Apr 10, 2009, at 1:40 AM, Jon Cone wrote:
> >>
> >>> I'm obviously going to be the Charleton Heston of b&w printing.  A
> >>> weird thought but none the less satisfying to know.  ROFL
> >>
> >> Is this a Moses on the Mount reference, or an NRA one? <G>
> >>
> >> C. David Tobie
> >> Global Product Technology Manager
> >> Digital Imaging & Home Theater
> >> CDTobie@
> >>
> >>
> >>  ----------
> >>
> >>
> >>
> >> Datacolor
> >> www.datacolor.com/Spyder3
> >>
> >>
> >>
> >>
> >> [Non-text portions of this message have been removed]
> >>
> >
> >
> >
> >
> > ------------------------------------
> >
> > Please visit the Group Homepage to check the Files, and other  
> > resources as they are often being updated.
> >
> > http://groups.yahoo.com/group/DigitalBlackandWhiteThePrint
> >
> > If you wish to receive no emails or just a daily digest, or you wish  
> > to unsubscribe, please edit your Membership preferences by visiting  
> > this same page.
> >
> > Please follow these basic guidelines:
> > - As threads develop, trim off excess portions of earlier messages  
> > to keep them short.
> > - Good manners are required at all time. No personal attacks or  
> > flames. Hostile, aggressive or argumentative users may be removed  
> > from the membership without notice.
> > - Keep your posts and threads related to the group topic of digital  
> > B&W printing. Users who persistently make off-topic posts may be  
> > removed from the membership.
> > - By posting on this forum you agree to abide by the group rules and  
> > guidelines, and to abide by the actions and decisions of the group  
> > Owner and Moderators. See “Group Topic, Rules and Guidelines” in  
> > the Files section:
> > http://groups.yahoo.com/group/DigitalBlackandWhiteThePrint/files/
> >
> > BY PARTICIPATING IN AND/OR POSTING MESSAGES TO THE DIGITAL BW, THE  
> > PRINT YAHOO! GROUP YOU EXPRESSLY UNDERSTAND AND AGREE THAT THE “OWNE 
> > R” AND “MODERATORS” OF DIGITAL BW, THE PRINT YAHOO GROUP SHALL  
> > NOT BE LIABLE TO YOU FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL,  
> > CONSEQUENTIAL OR EXEMPLARY DAMAGES, INCLUDING BUT NOT LIMITED TO, DA 
> > MAGES FOR LOSS OF PROFITS, GOODWILL, USE, DATA OR OTHER INTANGIBLE L 
> > OSSES (EVEN IF THE  “OWNER” AND “MODERATORS” OF DIGITAL BW,  
> > THE PRINT YAHOO GROUP HAVE BEEN ADVISED OF THE POSSIBILITY OF SUCH D 
> > AMAGES), RESULTING FROM: (i) THE USE OR THE INABILITY TO USE THE DIG 
> > ITAL BW, THE PRINT YAHOO GROUP; (ii) UNAUTHORIZED ACCESS TO OR ALTER 
> > ATION OF YOUR TRANSMISSIONS OR DATA; (iii) STATEMENTS OR CONDUCT OF  
> > ANY THIRD PARTY ON THE DIGITAL BW, THE PRINT YAHOO GROUP; OR (iv) AN 
> > Y OTHER MATTER RELATING TO THE DIGITAL BW, THE PRINT YAHOO GROUP.
> > Yahoo! Groups Links
> >
> >
> >
>

Re: [Digital BW] Re: Prints versus screen images.

2009-04-12 by Cdtobie

Actually, I was thinking of the Cult of the Carbon Image... There is  
much less cult worship in general printing.

C. D. Tobie
Global Product Technology Mngr.
Digital Imaging & Home Theater
Datacolor.com
CDTobie@...m
Show quoted textHide quoted text
On Apr 11, 2009, at 11:23 PM, "Jon Cone" <jon@...> wrote:

> Yes. I am sorry. David, stop worshiping those graven images.
>
> If it makes you feel better, I will do it as Heston.
>
> David, thou shalt not worship graven images, especially the blue one.
>
> Jon
>
>
> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, Cdtobie  
> <CDTobie@...> wrote:
>>
>> But wasn't there something about not worshipping graven images in
>> there as well?
>>
>> C. D. Tobie
>> Global Product Technology Mngr.
>> Digital Imaging & Home Theater
>> Datacolor.com
>> CDTobie@...
>>
>> On Apr 11, 2009, at 1:01 PM, "Jon Cone" <jon@...> wrote:
>>
>>> lol  :)
>>>
>>> I meant the NRA Heston with the thought of a carbon b&w print being
>>> pried from my dead cold hand.
>>>
>>> ...but Moses on the Mount works, too. Perfect time of year to
>>> remember Moses.
>>>
>>> Thou shalt not mix carbon with color inks.
>>>
>>> Thou shalt not need wait more than 10-30 years before your ABW
>>> prints turn red (or blue if you select the "neutral").
>>>
>>> Thou shalt not mind David Tobie.  ;)
>>>
>>> Jon
>>>
>>>
>>> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, C D Tobie
>>> <CDTobie@> wrote:
>>>>
>>>>
>>>> On Apr 10, 2009, at 1:40 AM, Jon Cone wrote:
>>>>
>>>>> I'm obviously going to be the Charleton Heston of b&w printing.  A
>>>>> weird thought but none the less satisfying to know.  ROFL
>>>>
>>>> Is this a Moses on the Mount reference, or an NRA one? <G>
>>>>
>>>> C. David Tobie
>>>> Global Product Technology Manager
>>>> Digital Imaging & Home Theater
>>>> CDTobie@
>>>>
>>>>
>>>> ----------
>>>>
>>>>
>>>>
>>>> Datacolor
>>>> www.datacolor.com/Spyder3
>>>>
>>>>
>>>>
>>>>
>>>> [Non-text portions of this message have been removed]
>>>>
>>>
>>>
>>>
>>>
>>> ------------------------------------
>>>
>>> Please visit the Group Homepage to check the Files, and other
>>> resources as they are often being updated.
>>>
>>> http://groups.yahoo.com/group/DigitalBlackandWhiteThePrint
>>>
>>> If you wish to receive no emails or just a daily digest, or you wish
>>> to unsubscribe, please edit your Membership preferences by visiting
>>> this same page.
>>>
>>> Please follow these basic guidelines:
>>> - As threads develop, trim off excess portions of earlier messages
>>> to keep them short.
>>> - Good manners are required at all time. No personal attacks or
>>> flames. Hostile, aggressive or argumentative users may be removed
>>> from the membership without notice.
>>> - Keep your posts and threads related to the group topic of digital
>>> B&W printing. Users who persistently make off-topic posts may be
>>> removed from the membership.
>>> - By posting on this forum you agree to abide by the group rules and
>>> guidelines, and to abide by the actions and decisions of the group
>>> Owner and Moderators. See “Group Topic, Rules and  
>>> Guidelines” in
>>> the Files section:
>>> http://groups.yahoo.com/group/DigitalBlackandWhiteThePrint/files/
>>>
>>> BY PARTICIPATING IN AND/OR POSTING MESSAGES TO THE DIGITAL BW, THE
>>> PRINT YAHOO! GROUP YOU EXPRESSLY UNDERSTAND AND AGREE THAT THE ‚ 
>>> ÄúOWNE
>>> R” AND “MODERATORS” OF DIGITAL BW, THE PRINT  
>>> YAHOO GROUP SHALL
>>> NOT BE LIABLE TO YOU FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL,
>>> CONSEQUENTIAL OR EXEMPLARY DAMAGES, INCLUDING BUT NOT LIMITED TO, DA
>>> MAGES FOR LOSS OF PROFITS, GOODWILL, USE, DATA OR OTHER INTANGIBLE L
>>> OSSES (EVEN IF THE  “OWNER” AND  
>>> “MODERATORS” OF DIGITAL BW,
>>> THE PRINT YAHOO GROUP HAVE BEEN ADVISED OF THE POSSIBILITY OF SUCH D
>>> AMAGES), RESULTING FROM: (i) THE USE OR THE INABILITY TO USE THE DIG
>>> ITAL BW, THE PRINT YAHOO GROUP; (ii) UNAUTHORIZED ACCESS TO OR ALTER
>>> ATION OF YOUR TRANSMISSIONS OR DATA; (iii) STATEMENTS OR CONDUCT OF
>>> ANY THIRD PARTY ON THE DIGITAL BW, THE PRINT YAHOO GROUP; OR (iv) AN
>>> Y OTHER MATTER RELATING TO THE DIGITAL BW, THE PRINT YAHOO GROUP.
>>> Yahoo! Groups Links
>>>
>>>
>>>
>>
>
>
>
>
> ------------------------------------
>
> Please visit the Group Homepage to check the Files, and other  
> resources as they are often being updated.
>
> http://groups.yahoo.com/group/DigitalBlackandWhiteThePrint
>
> If you wish to receive no emails or just a daily digest, or you wish  
> to unsubscribe, please edit your Membership preferences by visiting  
> this same page.
>
> Please follow these basic guidelines:
> - As threads develop, trim off excess portions of earlier messages  
> to keep them short.
> - Good manners are required at all time. No personal attacks or  
> flames. Hostile, aggressive or argumentative users may be removed  
> from the membership without notice.
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> B&W printing. Users who persistently make off-topic posts may be  
> removed from the membership.
> - By posting on this forum you agree to abide by the group rules and  
> guidelines, and to abide by the actions and decisions of the group  
> Owner and Moderators. See ìGroup Topic, Rules and Guidelinesî in the 
>  Files section:
> http://groups.yahoo.com/group/DigitalBlackandWhiteThePrint/files/
>
> BY PARTICIPATING IN AND/OR POSTING MESSAGES TO THE DIGITAL BW, THE  
> PRINT YAHOO! GROUP YOU EXPRESSLY UNDERSTAND AND AGREE THAT THE ìOWNE 
> Rî AND ìMODERATORSî OF DIGITAL BW, THE PRINT YAHOO GROUP SHALL NOT  
> BE LIABLE TO YOU FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, CONS 
> EQUENTIAL OR EXEMPLARY DAMAGES, INCLUDING BUT NOT LIMITED TO, DAMAGE 
> S FOR LOSS OF PROFITS, GOODWILL, USE, DATA OR OTHER INTANGIBLE LOSSE 
> S (EVEN IF THE  ìOWNERî AND ìMODERATORSî OF DIGITAL BW, THE PRINT  
> YAHOO GROUP HAVE BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES), R 
> ESULTING FROM: (i) THE USE OR THE INABILITY TO USE THE DIGITAL BW, T 
> HE PRINT YAHOO GROUP; (ii) UNAUTHORIZED ACCESS TO OR ALTERATION OF Y 
> OUR TRANSMISSIONS OR DATA; (iii) STATEMENTS OR CONDUCT OF ANY THIRD  
> PARTY ON THE DIGITAL BW, THE PRINT YAHOO GROUP; OR (iv) ANY OTHER MA 
> TTER RELATING TO THE DIGITAL BW, THE PRINT YAHOO GROUP.
> Yahoo! Groups Links
>
>
>

Re: [Digital BW] Re: Prints versus screen images.

2009-04-12 by CorrPro96@aol.com

In a message dated 4/12/2009 10:38:22 A.M. Eastern Daylight Time,  
CDTobie@... writes:

Actually, I was thinking of the Cult of the Carbon Image... There  is  
much less cult worship in general printing.

C. D.  Tobie



What about the pigment cult? Dyes look better!
 
Rich
_www.rmassiephotography.com_ (http://www.rmassiephotography.com) 
 
**************A Good Credit Score is 700 or Above. See yours in just 2 easy 
steps! 
(http://pr.atwola.com/promoclk/100126575x1220572838x1201387489/aol?redir=http:%2F%2Fwww.freecreditreport.com%2Fpm%2Fdefault.aspx%3Fsc%3D668072%26
hmpgID%3D62%26bcd%3DAprilfooterNO62)


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

[Digital BW] Re: Prints versus screen images.

2009-04-12 by Jon Cone

David,

This is not a "general printing" users group.

Jon




--- In DigitalBlackandWhiteThePrint@yahoogroups.com, Cdtobie <CDTobie@...> wrote:
Show quoted textHide quoted text
>
> Actually, I was thinking of the Cult of the Carbon Image... There is  
> much less cult worship in general printing.
> 
> C. D. Tobie
> Global Product Technology Mngr.
> Digital Imaging & Home Theater
> Datacolor.com
> CDTobie@...
> 
> On Apr 11, 2009, at 11:23 PM, "Jon Cone" <jon@...> wrote:
> 
> > Yes. I am sorry. David, stop worshiping those graven images.
> >
> > If it makes you feel better, I will do it as Heston.
> >
> > David, thou shalt not worship graven images, especially the blue one.
> >
> > Jon
> >
> >
> > --- In DigitalBlackandWhiteThePrint@yahoogroups.com, Cdtobie  
> > <CDTobie@> wrote:
> >>
> >> But wasn't there something about not worshipping graven images in
> >> there as well?
> >>
> >> C. D. Tobie
> >> Global Product Technology Mngr.
> >> Digital Imaging & Home Theater
> >> Datacolor.com
> >> CDTobie@
> >>
> >> On Apr 11, 2009, at 1:01 PM, "Jon Cone" <jon@> wrote:
> >>
> >>> lol  :)
> >>>
> >>> I meant the NRA Heston with the thought of a carbon b&w print being
> >>> pried from my dead cold hand.
> >>>
> >>> ...but Moses on the Mount works, too. Perfect time of year to
> >>> remember Moses.
> >>>
> >>> Thou shalt not mix carbon with color inks.
> >>>
> >>> Thou shalt not need wait more than 10-30 years before your ABW
> >>> prints turn red (or blue if you select the "neutral").
> >>>
> >>> Thou shalt not mind David Tobie.  ;)
> >>>
> >>> Jon
> >>>
> >>>
> >>> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, C D Tobie
> >>> <CDTobie@> wrote:
> >>>>
> >>>>
> >>>> On Apr 10, 2009, at 1:40 AM, Jon Cone wrote:
> >>>>
> >>>>> I'm obviously going to be the Charleton Heston of b&w printing.  A
> >>>>> weird thought but none the less satisfying to know.  ROFL
> >>>>
> >>>> Is this a Moses on the Mount reference, or an NRA one? <G>
> >>>>
> >>>> C. David Tobie
> >>>> Global Product Technology Manager
> >>>> Digital Imaging & Home Theater
> >>>> CDTobie@
> >>>>
> >>>>
> >>>> ----------
> >>>>
> >>>>
> >>>>
> >>>> Datacolor
> >>>> www.datacolor.com/Spyder3
> >>>>
> >>>>
> >>>>
> >>>>
> >>>> [Non-text portions of this message have been removed]
> >>>>
> >>>
> >>>
> >>>
> >>>
> >>> ------------------------------------
> >>>
> >>> Please visit the Group Homepage to check the Files, and other
> >>> resources as they are often being updated.
> >>>
> >>> http://groups.yahoo.com/group/DigitalBlackandWhiteThePrint
> >>>
> >>> If you wish to receive no emails or just a daily digest, or you wish
> >>> to unsubscribe, please edit your Membership preferences by visiting
> >>> this same page.
> >>>
> >>> Please follow these basic guidelines:
> >>> - As threads develop, trim off excess portions of earlier messages
> >>> to keep them short.
> >>> - Good manners are required at all time. No personal attacks or
> >>> flames. Hostile, aggressive or argumentative users may be removed
> >>> from the membership without notice.
> >>> - Keep your posts and threads related to the group topic of digital
> >>> B&W printing. Users who persistently make off-topic posts may be
> >>> removed from the membership.
> >>> - By posting on this forum you agree to abide by the group rules and
> >>> guidelines, and to abide by the actions and decisions of the group
> >>> Owner and Moderators. See “Group Topic, Rules and  
> >>> Guidelines” in
> >>> the Files section:
> >>> http://groups.yahoo.com/group/DigitalBlackandWhiteThePrint/files/
> >>>
> >>> BY PARTICIPATING IN AND/OR POSTING MESSAGES TO THE DIGITAL BW, THE
> >>> PRINT YAHOO! GROUP YOU EXPRESSLY UNDERSTAND AND AGREE THAT THE ‚ 
> >>> ÄúOWNE
> >>> R” AND “MODERATORS” OF DIGITAL BW, THE PRINT  
> >>> YAHOO GROUP SHALL
> >>> NOT BE LIABLE TO YOU FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL,
> >>> CONSEQUENTIAL OR EXEMPLARY DAMAGES, INCLUDING BUT NOT LIMITED TO, DA
> >>> MAGES FOR LOSS OF PROFITS, GOODWILL, USE, DATA OR OTHER INTANGIBLE L
> >>> OSSES (EVEN IF THE  “OWNER” AND  
> >>> “MODERATORS” OF DIGITAL BW,
> >>> THE PRINT YAHOO GROUP HAVE BEEN ADVISED OF THE POSSIBILITY OF SUCH D
> >>> AMAGES), RESULTING FROM: (i) THE USE OR THE INABILITY TO USE THE DIG
> >>> ITAL BW, THE PRINT YAHOO GROUP; (ii) UNAUTHORIZED ACCESS TO OR ALTER
> >>> ATION OF YOUR TRANSMISSIONS OR DATA; (iii) STATEMENTS OR CONDUCT OF
> >>> ANY THIRD PARTY ON THE DIGITAL BW, THE PRINT YAHOO GROUP; OR (iv) AN
> >>> Y OTHER MATTER RELATING TO THE DIGITAL BW, THE PRINT YAHOO GROUP.
> >>> Yahoo! Groups Links
> >>>
> >>>
> >>>
> >>
> >
> >
> >
> >
> > ------------------------------------
> >
> > Please visit the Group Homepage to check the Files, and other  
> > resources as they are often being updated.
> >
> > http://groups.yahoo.com/group/DigitalBlackandWhiteThePrint
> >
> > If you wish to receive no emails or just a daily digest, or you wish  
> > to unsubscribe, please edit your Membership preferences by visiting  
> > this same page.
> >
> > Please follow these basic guidelines:
> > - As threads develop, trim off excess portions of earlier messages  
> > to keep them short.
> > - Good manners are required at all time. No personal attacks or  
> > flames. Hostile, aggressive or argumentative users may be removed  
> > from the membership without notice.
> > - Keep your posts and threads related to the group topic of digital  
> > B&W printing. Users who persistently make off-topic posts may be  
> > removed from the membership.
> > - By posting on this forum you agree to abide by the group rules and  
> > guidelines, and to abide by the actions and decisions of the group  
> > Owner and Moderators. See ìGroup Topic, Rules and Guidelinesî in the 
> >  Files section:
> > http://groups.yahoo.com/group/DigitalBlackandWhiteThePrint/files/
> >
> > BY PARTICIPATING IN AND/OR POSTING MESSAGES TO THE DIGITAL BW, THE  
> > PRINT YAHOO! GROUP YOU EXPRESSLY UNDERSTAND AND AGREE THAT THE ìOWNE 
> > Rî AND ìMODERATORSî OF DIGITAL BW, THE PRINT YAHOO GROUP SHALL NOT  
> > BE LIABLE TO YOU FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, CONS 
> > EQUENTIAL OR EXEMPLARY DAMAGES, INCLUDING BUT NOT LIMITED TO, DAMAGE 
> > S FOR LOSS OF PROFITS, GOODWILL, USE, DATA OR OTHER INTANGIBLE LOSSE 
> > S (EVEN IF THE  ìOWNERî AND ìMODERATORSî OF DIGITAL BW, THE PRINT  
> > YAHOO GROUP HAVE BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES), R 
> > ESULTING FROM: (i) THE USE OR THE INABILITY TO USE THE DIGITAL BW, T 
> > HE PRINT YAHOO GROUP; (ii) UNAUTHORIZED ACCESS TO OR ALTERATION OF Y 
> > OUR TRANSMISSIONS OR DATA; (iii) STATEMENTS OR CONDUCT OF ANY THIRD  
> > PARTY ON THE DIGITAL BW, THE PRINT YAHOO GROUP; OR (iv) ANY OTHER MA 
> > TTER RELATING TO THE DIGITAL BW, THE PRINT YAHOO GROUP.
> > Yahoo! Groups Links
> >
> >
> >
>

Your long answer was Re: Prints versus screen images: A Question

2009-04-12 by Jon Cone

Jerry,

The premise of your question is slightly wrong because the light blacks do not shift, nor are they "neutral". I think if you will entertain a long post I will try and explain it clearly.

The issue is not that the light blacks are unstable in K3. To the contrary, the light blacks are very stable which is what induces the problem with color shift in ABW. They are too stable to be used in conjunction with color inks in the making of b&w prints. And the color inks are necessary in order to make the light blacks pleasing to a black & white photographer. Epson black and light blacks are coolish/greenish because Epson cannot provide neutral black/grays in combination of more than two because of patent rights. So, when K2 evolved into K3, its blacks and grays had to be made considerably off-neutral. Epson K3 blacks and grays are measurably greenish. The problem is not the color of the light grays but simply using less stable color inks in combination with stable blacks/grays. That is the core of the problem. A little opposite to your thinking.

In terms of understanding better what "color shift" is I have posted a jpg for you to look at. It is an actual example of color shift in Epson Ultrachrome K3 ABW "sepia toned". This particular ABW print is on Epson Velvet Fine Art Paper which is rated by Epson and by WIR to last more than 400 years before "easily noticeable fade" occurs. It is light stability tested in combination with Piezography CarbonSepia inks. The ABW example and was printed to "look" like CarbonSepia inks for comparison.

http://www.inkjetmall.com/70ML-ABWvsCS.jpg

The above is only a 70 MegaLux dose of exposure which is equivalent to 35 Wilhelm Years or 8 Gallery Exhibition Years. A long time by Tobie standards (he's used them since 2005 and not noticed fade), but a short time by fine photographer standards. Certainly, it is far short of the 400 years rating by Epson and WIR. If you want to read why the Epson and WIR ratings are inaccurate when it comes to color shift in ABW - you can read that in the words of Wilhelm himself rather than depend upon my or other people's opinions. I actually formed my opinions from reading the following small pdfs from Wilhelm's presentations to the Society for Imaging Sciences and Technology. I will warn you that if you are a firm believer in the published Epson longevity ratings, these will be very graphic and possibly disturbing or unsettling. But, I do think it's important to be factually aware of things that may bust your bubble of comfort, especially when the legacy of your work is involved. Better to know this early in your b&w printing than later as you approach the zenith of your years and have no possible chance of reprinting with a more suitable process such as silver, palladium or carbon inkjet.

http://www.wilhelm-research.com/pdf/is_t/WIR_ISTpresen2004_02MMG_HWr.pdf 

and 

http://www.wilhelm-research.com/istar/WIR_IST_2007_09_HW_DS.pdf
 
If you do not wish to read them, the basics are that the WIR testing methods were developed in the age of dye-coupler photography when he could take a densitometer and measure a 60% density patch in each of the cyan, magenta, and yellow dye layers as well as a combined CMY and determine everything there is to know about how dye-coupler photographs fade and color stain. He cites that he can no longer detect color shift in Ultrachrome K3 inks because of that inks complexity. He cites that about 2000 when inkjet moved away from a simple CMYK to light grays and light cyans, light magentas and even more complex agents, he lost the ability to analyze color balance. He argues that a new method designed for him by Mark McCormick-Goodhart (the co-author of the pdfs) but not yet implemented at WIR can detect color balance (something the WIR densitometer is not technically capable of), and that automated and sophisticated spectrophotometers using a CIELab based system of measurements over a much wider array of color patches will be able to measure color balance in colors, neutrals, near-neutrals and flesh tones - which WIR methodology simply cannot detect. WIR gives an example of a gross failure of his system attributed to a simple color print made on a Canon printer. The resulting images however, show what WIR easily noticeable fade looks like. I would argue after reading this that the entire WIR premise of what is easily noticeable is pointed at sunday shooters and scrapbookers rather than fine artists and photographers. These two pdfs will teach you everything you wanted to know about longevity testing as practiced by Epson, Canon and HP which use WIR on an exclusive basis. It's a business model that may not take your best interests into consideration because admittedly it is a system that is not necessarily adapted to inkjet yet, but heavily promotes super-longevity ratings not previously attained by any photographic process.

Afterwards, you may wish to look to this site (http://www.aardenburg-imaging.com/) to begin learning something for yourself about actual longevity testing of modern inksets that are of use to users rather than the tests on the WIR site which appear now to be of more use to OEMs. (I do not mean that to sound condescending) - I mean that its possible to find your answers and to understand why the use of color ink does not promote true longevity in b&w. And to learn and see it visually - from the person that invented the i-Star that WIR presented in the pdfs above. I am using the WIR i-Star beta from the WIR site in conjunction with visible/UV and the target from the WIR site as well as the Aardenburg site. It's am amazing system to be sure. I can even detect OBA fade, something completely missing in WIR tests. 

If you want to learn more about Piezography which is a pure monochrome carbon/modified carbon ink process - we discuss almost exclusively monochromatic inks at http://tech.groups.yahoo.com/group/piezography3000   We do not advise ever to print b&w with color.  Besides printing in considerably higher fidelity than Epson ABW, Piezography has a true fade resistance that ABW does not (when color balance and density are considered both important.) 

Jon Cone
Piezography evangelist and part-time color photography lover.


--- In DigitalBlackandWhiteThePrint@yahoogroups.com, Gerald Davey <gdavey@...> wrote:
Show quoted textHide quoted text
>
> I'm new to this group but starting to follow this discussion pending  
> some purchase decisions. It seems to me that if there are apparent  
> color shifts even remotely that rapidly in the "neutral" Epson K2 or  
> K3 inks, that it's necessarily the case that there are shifts in the  
> remaining color pigment inks as well. Thus, with the Cone Color inks  
> the statement that they are 100% pigment vs. presumably partial dye  
> content in the Epson inks could be crucial, all else being equal (if  
> it ever is!). Is this consistent with any other's experience?
> 
> Jerry D.
> 
> 
> 
> On Apr 10, 2009, at 10:25 AM, john dean wrote:
> 
> >
> >
> > I've actually seen these Ultrachrome K2 black and white prints  
> > shift within the span of a week in an exhibition where fairly  
> > bright daylight was present. Not ultra bright, but a bit over 450  
> > lux. I'm not kidding and they were framed behind glass. It was a  
> > big embarrassment for the photographer. I'm glad I didn't print  
> > them. But I did spray ALL the Ultrachrome prints I did at that time  
> > with with a uv coating and always used QTR to reduce the color  
> > content. But it is always there to some degree when you are dealing  
> > with brown "gray" inks and trying to achieve neutral color in the  
> > whole range.
> >
> > I have also seen tests I've had around for a few years on a  
> > bulletin board shift, usually toward cyan as the light magenta  
> > goes, or toward blue. No chemicals or pollution in my studio. Of  
> > course these were not behind glass, or sprayed, but to me that  
> > shouldn't be necessary.
> >
> > john
> >
> > --- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Jon Cone"  
> > <jon@> wrote:
> > >
> > > David,
> > >
> > > Mayhaps not, but I would not suspect that you would notice any  
> > changes in your work in 5 years. But, it's not black and white like  
> > you are trying to make it either. (pun intended). The threat is  
> > relative to the intent of the photographer and the perceived value  
> > of their work. For others it doesn't really matter two pickles.
> >
> >
> > 
> 
> 
> 
> [Non-text portions of this message have been removed]
>

Re: [Digital BW] Re: Prints versus screen images.

2009-04-12 by Cdtobie

Not from your point of view... But many others here are general print  
users who have an interest in B&W.

C. D. Tobie
Global Product Technology Mngr.
Digital Imaging & Home Theater
Datacolor.com
CDTobie@...
Show quoted textHide quoted text
On Apr 12, 2009, at 11:53 AM, "Jon Cone" <jon@...> wrote:

> David,
>
> This is not a "general printing" users group.
>
> Jon
>
>
>
>
> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, Cdtobie  
> <CDTobie@...> wrote:
>>
>> Actually, I was thinking of the Cult of the Carbon Image... There is
>> much less cult worship in general printing.
>>
>> C. D. Tobie
>> Global Product Technology Mngr.
>> Digital Imaging & Home Theater
>> Datacolor.com
>> CDTobie@...
>>
>> On Apr 11, 2009, at 11:23 PM, "Jon Cone" <jon@...> wrote:
>>
>>> Yes. I am sorry. David, stop worshiping those graven images.
>>>
>>> If it makes you feel better, I will do it as Heston.
>>>
>>> David, thou shalt not worship graven images, especially the blue  
>>> one.
>>>
>>> Jon
>>>
>>>
>>> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, Cdtobie
>>> <CDTobie@> wrote:
>>>>
>>>> But wasn't there something about not worshipping graven images in
>>>> there as well?
>>>>
>>>> C. D. Tobie
>>>> Global Product Technology Mngr.
>>>> Digital Imaging & Home Theater
>>>> Datacolor.com
>>>> CDTobie@
>>>>
>>>> On Apr 11, 2009, at 1:01 PM, "Jon Cone" <jon@> wrote:
>>>>
>>>>> lol  :)
>>>>>
>>>>> I meant the NRA Heston with the thought of a carbon b&w print  
>>>>> being
>>>>> pried from my dead cold hand.
>>>>>
>>>>> ...but Moses on the Mount works, too. Perfect time of year to
>>>>> remember Moses.
>>>>>
>>>>> Thou shalt not mix carbon with color inks.
>>>>>
>>>>> Thou shalt not need wait more than 10-30 years before your ABW
>>>>> prints turn red (or blue if you select the "neutral").
>>>>>
>>>>> Thou shalt not mind David Tobie.  ;)
>>>>>
>>>>> Jon
>>>>>
>>>>>
>>>>> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, C D Tobie
>>>>> <CDTobie@> wrote:
>>>>>>
>>>>>>
>>>>>> On Apr 10, 2009, at 1:40 AM, Jon Cone wrote:
>>>>>>
>>>>>>> I'm obviously going to be the Charleton Heston of b&w  
>>>>>>> printing.  A
>>>>>>> weird thought but none the less satisfying to know.  ROFL
>>>>>>
>>>>>> Is this a Moses on the Mount reference, or an NRA one? <G>
>>>>>>
>>>>>> C. David Tobie
>>>>>> Global Product Technology Manager
>>>>>> Digital Imaging & Home Theater
>>>>>> CDTobie@
>>>>>>
>>>>>>
>>>>>> ----------
>>>>>>
>>>>>>
>>>>>>
>>>>>> Datacolor
>>>>>> www.datacolor.com/Spyder3
>>>>>>
>>>>>>
>>>>>>
>>>>>>
>>>>>> [Non-text portions of this message have been removed]
>>>>>>
>>>>>
>>>>>
>>>>>
>>>>>
>>>>> ------------------------------------
>>>>>
>>>>> Please visit the Group Homepage to check the Files, and other
>>>>> resources as they are often being updated.
>>>>>
>>>>> http://groups.yahoo.com/group/DigitalBlackandWhiteThePrint
>>>>>
>>>>> If you wish to receive no emails or just a daily digest, or you  
>>>>> wish
>>>>> to unsubscribe, please edit your Membership preferences by  
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>>>>> from the membership without notice.
>>>>> - Keep your posts and threads related to the group topic of  
>>>>> digital
>>>>> B&W printing. Users who persistently make off-topic posts may be
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>>>>> - By posting on this forum you agree to abide by the group rules  
>>>>> and
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>>>>>
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>>>>> PRINT YAHOO! GROUP YOU EXPRESSLY UNDERSTAND AND AGREE THAT T 
>>>>> HE ‚
>>>>> ÄúOWNE
>>>>> R” AND “MODERATORS”  
>>>>> OF DIGITAL BW, THE PRINT
>>>>> YAHOO GROUP SHALL
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>>>>> MAGES FOR LOSS OF PROFITS, GOODWILL, USE, DATA OR OTHER  
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>>>>> OSSES (EVEN IF THE  “OWNER” AND
>>>>> “MODERATORS” OF DIGITAL BW,
>>>>> THE PRINT YAHOO GROUP HAVE BEEN ADVISED OF THE POSSIBILITY OF  
>>>>> SUCH D
>>>>> AMAGES), RESULTING FROM: (i) THE USE OR THE INABILITY TO USE THE  
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>>>>> ITAL BW, THE PRINT YAHOO GROUP; (ii) UNAUTHORIZED ACCESS TO OR  
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>>>>> OF
>>>>> ANY THIRD PARTY ON THE DIGITAL BW, THE PRINT YAHOO GROUP; OR  
>>>>> (iv) AN
>>>>> Y OTHER MATTER RELATING TO THE DIGITAL BW, THE PRINT YAHOO GROUP.
>>>>> Yahoo! Groups Links
>>>>>
>>>>>
>>>>>
>>>>
>>>
>>>
>>>
>>>
>>> ------------------------------------
>>>
>>> Please visit the Group Homepage to check the Files, and other
>>> resources as they are often being updated.
>>>
>>> http://groups.yahoo.com/group/DigitalBlackandWhiteThePrint
>>>
>>> If you wish to receive no emails or just a daily digest, or you wish
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>>>
>>> Please follow these basic guidelines:
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>>> - Good manners are required at all time. No personal attacks or
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>>> from the membership without notice.
>>> - Keep your posts and threads related to the group topic of digital
>>> B&W printing. Users who persistently make off-topic posts may be
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>>> - By posting on this forum you agree to abide by the group rules and
>>> guidelines, and to abide by the actions and decisions of the group
>>> Owner and Moderators. See ìGroup Topic, Rules and Guidelinesî  
>>> in the
>>> Files section:
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>>>
>>> BY PARTICIPATING IN AND/OR POSTING MESSAGES TO THE DIGITAL BW, THE
>>> PRINT YAHOO! GROUP YOU EXPRESSLY UNDERSTAND AND AGREE THAT THE Ã 
>>> ¬OWNE
>>> Rî AND ìMODERATORSî OF DIGITAL BW, THE PRINT YAHOO GROUP  
>>> SHALL NOT
>>> BE LIABLE TO YOU FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, CONS
>>> EQUENTIAL OR EXEMPLARY DAMAGES, INCLUDING BUT NOT LIMITED TO, DAMAGE
>>> S FOR LOSS OF PROFITS, GOODWILL, USE, DATA OR OTHER INTANGIBLE LOSSE
>>> S (EVEN IF THE  ìOWNERî AND ìMODERATORSî OF DIGITAL BW,  
>>> THE PRINT
>>> YAHOO GROUP HAVE BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES), R
>>> ESULTING FROM: (i) THE USE OR THE INABILITY TO USE THE DIGITAL BW, T
>>> HE PRINT YAHOO GROUP; (ii) UNAUTHORIZED ACCESS TO OR ALTERATION OF Y
>>> OUR TRANSMISSIONS OR DATA; (iii) STATEMENTS OR CONDUCT OF ANY THIRD
>>> PARTY ON THE DIGITAL BW, THE PRINT YAHOO GROUP; OR (iv) ANY OTHER MA
>>> TTER RELATING TO THE DIGITAL BW, THE PRINT YAHOO GROUP.
>>> Yahoo! Groups Links
>>>
>>>
>>>
>>
>
>
>
>
> ------------------------------------
>
> Please visit the Group Homepage to check the Files, and other  
> resources as they are often being updated.
>
> http://groups.yahoo.com/group/DigitalBlackandWhiteThePrint
>
> If you wish to receive no emails or just a daily digest, or you wish  
> to unsubscribe, please edit your Membership preferences by visiting  
> this same page.
>
> Please follow these basic guidelines:
> - As threads develop, trim off excess portions of earlier messages  
> to keep them short.
> - Good manners are required at all time. No personal attacks or  
> flames. Hostile, aggressive or argumentative users may be removed  
> from the membership without notice.
> - Keep your posts and threads related to the group topic of digital  
> B&W printing. Users who persistently make off-topic posts may be  
> removed from the membership.
> - By posting on this forum you agree to abide by the group rules and  
> guidelines, and to abide by the actions and decisions of the group  
> Owner and Moderators. See “Group Topic, Rules and Guidelines” in  
> the Files section:
> http://groups.yahoo.com/group/DigitalBlackandWhiteThePrint/files/
>
> BY PARTICIPATING IN AND/OR POSTING MESSAGES TO THE DIGITAL BW, THE  
> PRINT YAHOO! GROUP YOU EXPRESSLY UNDERSTAND AND AGREE THAT THE “OWNE 
> R” AND “MODERATORS” OF DIGITAL BW, THE PRINT YAHOO GROUP SHALL  
> NOT BE LIABLE TO YOU FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL,  
> CONSEQUENTIAL OR EXEMPLARY DAMAGES, INCLUDING BUT NOT LIMITED TO, DA 
> MAGES FOR LOSS OF PROFITS, GOODWILL, USE, DATA OR OTHER INTANGIBLE L 
> OSSES (EVEN IF THE  “OWNER” AND “MODERATORS” OF DIGITAL BW,  
> THE PRINT YAHOO GROUP HAVE BEEN ADVISED OF THE POSSIBILITY OF SUCH D 
> AMAGES), RESULTING FROM: (i) THE USE OR THE INABILITY TO USE THE DIG 
> ITAL BW, THE PRINT YAHOO GROUP; (ii) UNAUTHORIZED ACCESS TO OR ALTER 
> ATION OF YOUR TRANSMISSIONS OR DATA; (iii) STATEMENTS OR CONDUCT OF  
> ANY THIRD PARTY ON THE DIGITAL BW, THE PRINT YAHOO GROUP; OR (iv) AN 
> Y OTHER MATTER RELATING TO THE DIGITAL BW, THE PRINT YAHOO GROUP.
> Yahoo! Groups Links
>
>
>

Re: [Digital BW] Your "long answer" to my question, Jon

2009-04-12 by Gerald Davey

Thanks very much Jon for taking the time and making the effort to  
answer my inquiry so thoroughly!!! That says a great deal about not  
only a person's knowledge, but their dedication and passion! I looked  
at each of the source papers you cited and it reminded me of having  
read at one time that the Wilhelm testing often quoted by  
manufacturers  defined "significant" change in image quality much  
farther down the line than I would be comfortable with. I've been  
printing since before starting high school (in the '60's) and still  
retain B&W prints that show no obvious signs of change. I am  
concerned with both the quality of the image - it's depth and  
richness - qualities that vary according to the particular  
traditional fiber papers and chemistries involved and their  
longevity. I too have noticed the greenish tint in Epson black and  
white prints. Since many of my photographs in recent years have been  
shot in color, I am in need of making the best selection for quality  
for both and it is obvious from your information that I must separate  
the two entirely. I'll be in touch with you on your website very  
shortly and I thank you for getting me past the fantasy that I could  
really use one printer to achieve the quality I need in any  
satisfactory manner. Thank you, again!

All My Best,

Jerry Davey

Re: [Digital BW] Your "long answer" to my question, Jon

2009-04-12 by Walker Blackwell

For those interested in QTR toning through an "ultrachrome" set on k3  
printers, I would suggest buying compatible Cone Neutral inks for K3 K  
shades 1,2,3. I did this back in the day on a 9600 using a CMYK  
profile through StudioPrint. Neutrals were amazing and surpisingly  
little dots. QTR would most likely do an even better job and still let  
you fully control your multiple split tones. Of course, you won't get  
nearly as much physical resolution as a septone piezo setup, but you  
will get the adaptability required by some photographers that a single  
or even dual ink setup does not always offer. If anyone here does it,  
let me know how it turned out.

Of course, on the color printing end, you will need to use a CMYK rip  
that you can linearize for the now-neutral K channel.

all the best,
Walker

Re: [Digital BW] Your long answer was Re: Prints versus screen images: A Question

2009-04-12 by Ernst Dinkla

Jon Cone schreef:

>. So, when K2 evolved into K3, its blacks and grays had to be made considerably off-neutral. Epson K3 blacks and grays are measurably greenish. The problem is not the color of the light grays but simply using less stable color inks in combination with stable blacks/grays. That is the core of the problem. 
> http://www.inkjetmall.com/70ML-ABWvsCS.jpg

> He argues that a new method designed for him by Mark McCormick-Goodhart (the co-author of the pdfs) but not yet implemented at WIR can detect color balance (something the WIR densitometer is not technically capable of), and that automated and sophisticated spectrophotometers using a CIELab based system of measurements over a much wider array of color patches will be able to measure color balance in colors, neutrals, near-neutrals and flesh tones - which WIR methodology simply cannot detect. WIR gives an example of a gross failure of his system attributed to a simple color print made on a Canon printer. The resulting images however, show what WIR easily noticeable fade looks like. I would argue after reading this that the entire WIR premise of what is easily noticeable is pointed at sunday shooters and scrapbookers rather than fine artists and photographers. These two pdfs will teach you everything you wanted to know about longevity testing as practiced by Epson, Canon and 
HP which use WIR on an exclusive basis. It's a business model that may not take your best interests into consideration because admittedly it is a system that is not necessarily adapted to inkjet yet, but heavily promotes super-longevity ratings not previously attained by any photographic process.
> 
> Afterwards, you may wish to look to this site (http://www.aardenburg-imaging.com/) to begin learning something for yourself about actual longevity testing of modern inksets that are of use to users rather than the tests on the WIR site which appear now to be of more use to OEMs. (I do not mean that to sound condescending).


HP either must have that patent or have a license to use more than 2 
neutral greys in an inkset, all the Z models and the B9180 + B8850 have 
that 4 or 3 neutral grey inks as the spine in the color mode as the only 
inks used in a neutral B&W print.

As I understand it Mark McCormick's first goal was to broaden the fade 
testing with measurements on more color mixes. Looking back, that 
already became necessary when CMY layers of analogue film and paper were 
replaced by CMYK in digital printing (though CMYK existed in general 
printing for a 100 years already). The K substituting part of the 
composite grays must have made the dark colors and darker grays more 
stable if compared to the CMY only mixes (not considering the coating 
layers, dye coupler, dye ink, pigment ink, aspects). The printer 
manufacturers improved the ink sets later on by reducing the composite 
gray mixes even more and also reducing the secondary etc color mixes, 
both through further substitution with gray inks and later on by extra 
hues. That Epson's ABW mode isn't free of composite grays places it in 
the same category but that doesn't mean HP falls in that category too 
for B&W printing. While I agree that the testing method is an 
improvement, I think the new ink sets are also an improvement. The first 
tests on different ink sets are not all finished at Aardenburg so it has 
to be seen whether there will be a big shift in their order of fade 
resistance and how the big three will finish compared to third party 
inks, both in color prints and B&W. Some results are already published. 
The order we know right now is from Wilhelm's tests and Image 
Engineering that in general doesn't contradict Wilhem's results. The 
inks tested over the last 5 years were from the big three. The exception 
a less convincing test of selected  third party inks (for desktop 
models) that was more an attempt to create contrast for the other 
results. Aardenburg's tests include more convincing third parties too so 
may have your inks as well. Didn't check that. But it is too early yet 
to conclude that all is clear now.

That Wilhelm Research has to reinvent itself from time to time doesn't 
change the fact that it contributed a lot to the improvements made on 
fade resistance, etc. for analogue photography, the movie archives, 
digital printing and probably more.
 >I would argue after reading this that the entire WIR premise of what 
is easily noticeable is pointed at sunday shooters and scrapbookers 
rather than fine artists and photographers<  sounds harsh then. I don't 
think Mark McCormick would make the same remark, he probably considers 
his institute both in testing and as an enterprise as a next step after 
Wilhelm's work, with respect for what has been done before.


-- 
Met vriendelijke groeten,   Ernst


New: Dinkla Canvas Wrap Actions

|      Dinkla Grafische Techniek      |
|         www.pigment-print.com        |
|                 ( unvollendet )                 |

[Digital BW] Your long answer was Re: Prints versus screen images: A Question

2009-04-12 by john dean

I agree Ernst. I mentioned last week that it IS wrong to lump the HP Vivera gray tri or quadtone output in with Epson ABW and Canon Lucia process. They are mostly carbon and don't use composite color hues, at least not in the way I use them, and they are all the same hue. 

"Aardenburg's tests include more convincing third parties too so
may have your inks as well."

Absolutely, Aardenburg Imaging should have tested Piezography K7 and Piezotone Quads right in the same context with the leading corporate inksets on the same leading papers. We should have had that info by now. I do wish someone would post it as an objective alternative to what we already have from Wilhelm about the big three. Surely someone has the little amount of cash he needs to do this correctly. :-). Don't look at me. I'm broke.

john

[Digital BW] Your long answer was Re: Prints versus screen images: A Question

2009-04-12 by Tyler Boley

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, Ernst Dinkla <edinkla@...> ...
...
> HP either must have that patent or have a license to use more than 2 
> neutral greys in an inkset, all the Z models and the B9180 + B8850 have 
> that 4 or 3 neutral grey inks as the spine in the color mode as the only 
> inks used in a neutral B&W print.
> 

I don't have a legal understanding of what is patentable or licenseable, but this escapes me completely. Is this possible for a pretty run of the mill idea? Didn't most of us all back in the early days of quads with MIS, Lyson, Sundance, etc all want this? It occurred to me one day back in 1998, do I have some money coming? I don't think anyone working in B&W ink would even feel the need to express such an idea, it's just a given.
HP got in this game pretty late compared to most of us. They deserve credit for developing it and bringing it to market successfully, but the basic obvious idea is somehow worthy of infringement protection?
Actually, weren't the NK7s the first multiply density neutral mono inks on the market?
I have an idea, cars should use less gas. I thought of it a long time ago. Who do I invoice?
Tyler
http://www.custom-digital.com/

Re: [Digital BW] Re: Prints versus screen images.

2009-04-12 by Cdtobie

I'm a developer, actually. I've worked on developing B&W inksets, B&W  
functionalities for inkjet printers, and B&W related profiling  
solutions. B&W had lots of angles... as I feel obliged to point out  
every so often.

Jon has posted several thought provoking and broadening posts here in  
the last few weeks alone, posts I would not have wanted to miss; but  
he is also advocating a point of view, and a system; and selling the  
supplies for that system. I don't begrudge him his saleman's hat or  
his developer's hat; but neither do I apologize for my own, though  
having been involved in several areas of the field, I am "biased" in  
multiple directions at once.

C. D. Tobie
Global Product Technology Mngr.
Digital Imaging & Home Theater
Datacolor.com
CDTobie@...
Show quoted textHide quoted text
On Apr 12, 2009, at 4:43 PM, "john dean" <deanwork2003@...> wrote:

>
> The title of this group is "Digital Black and White, The Print".   
> And since senior Cone happens to be a master in this arena, and  
> actually helped significantly in terms of pushing this technology  
> forward in the last decade to where is now,... and Tobie a "Data  
> Color" salesman, I think it is fairly easy to conceive who belongs  
> here and who doesn't. It isn't rocket science, but it is Digital  
> Black and White printing this site was designed to promote.
>
> john
>
>
>
> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, Cdtobie  
> <CDTobie@...> wrote:
>>
>> Not from your point of view... But many others here are general print
>> users who have an interest in B&W.
>>
>> C. D. Tobie
>> Global Product Technology Mngr.
>> Digital Imaging & Home Theater
>> Datacolor.com
>> CDTobie@...
>>
>> On Apr 12, 2009, at 11:53 AM, "Jon Cone" <jon@...> wrote:
>>
>>> David,
>>>
>>> This is not a "general printing" users group.
>>>
>>> Jon
>>>
>>>
>>>
>>>
>>> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, Cdtobie
>>> <CDTobie@> wrote:
>>>>
>>>> Actually, I was thinking of the Cult of the Carbon Image... There  
>>>> is
>>>> much less cult worship in general printing.
>>>>
>>>> C. D. Tobie
>>>> Global Product Technology Mngr.
>>>> Digital Imaging & Home Theater
>>>> Datacolor.com
>>>> CDTobie@
>>>>
>>>> On Apr 11, 2009, at 11:23 PM, "Jon Cone" <jon@> wrote:
>>>>
>>>>> Yes. I am sorry. David, stop worshiping those graven images.
>>>>>
>>>>> If it makes you feel better, I will do it as Heston.
>>>>>
>>>>> David, thou shalt not worship graven images, especially the blue
>>>>> one.
>>>>>
>>>>> Jon
>>>>>
>>>>>
>>>>> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, Cdtobie
>>>>> <CDTobie@> wrote:
>>>>>>
>>>>>> But wasn't there something about not worshipping graven images in
>>>>>> there as well?
>>>>>>
>>>>>> C. D. Tobie
>>>>>> Global Product Technology Mngr.
>>>>>> Digital Imaging & Home Theater
>>>>>> Datacolor.com
>>>>>> CDTobie@
>>>>>>
>>>>>> On Apr 11, 2009, at 1:01 PM, "Jon Cone" <jon@> wrote:
>>>>>>
>>>>>>> lol  :)
>>>>>>>
>>>>>>> I meant the NRA Heston with the thought of a carbon b&w print
>>>>>>> being
>>>>>>> pried from my dead cold hand.
>>>>>>>
>>>>>>> ...but Moses on the Mount works, too. Perfect time of year to
>>>>>>> remember Moses.
>>>>>>>
>>>>>>> Thou shalt not mix carbon with color inks.
>>>>>>>
>>>>>>> Thou shalt not need wait more than 10-30 years before your ABW
>>>>>>> prints turn red (or blue if you select the "neutral").
>>>>>>>
>>>>>>> Thou shalt not mind David Tobie.  ;)
>>>>>>>
>>>>>>> Jon
>>>>>>>
>>>>>>>
>>>>>>> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, C D Tobie
>>>>>>> <CDTobie@> wrote:
>>>>>>>>
>>>>>>>>
>>>>>>>> On Apr 10, 2009, at 1:40 AM, Jon Cone wrote:
>>>>>>>>
>>>>>>>>> I'm obviously going to be the Charleton Heston of b&w
>>>>>>>>> printing.  A
>>>>>>>>> weird thought but none the less satisfying to know.  ROFL
>>>>>>>>
>>>>>>>> Is this a Moses on the Mount reference, or an NRA one? <G>
>>>>>>>>
>>>>>>>> C. David Tobie
>>>>>>>> Global Product Technology Manager
>>>>>>>> Digital Imaging & Home Theater
>>>>>>>> CDTobie@
>>>>>>>>
>>>>>>>>
>>>>>>>> ----------
>>>>>>>>
>>>>>>>>
>>>>>>>>
>>>>>>>> Datacolor
>>>>>>>> www.datacolor.com/Spyder3
>>>>>>>>
>>>>>>>>
>>>>>>>>
>>>>>>>>
>>>>>>>> [Non-text portions of this message have been removed]
>>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>>
>>>>>>> ------------------------------------
>>>>>>>
>>>>>>> Please visit the Group Homepage to check the Files, and other
>>>>>>> resources as they are often being updated.
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>>>>>>> Y OTHER MATTER RELATING TO THE DIGITAL BW, THE PRINT YAHOO  
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>>>>>>
>>>>>
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>>>>>
>>>>>
>>>>> ------------------------------------
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>>>>> Please visit the Group Homepage to check the Files, and other
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>>>>> Rî AND ìMODERATORSî OF DIGITAL BW, THE  
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>>>>> HE PRINT YAHOO GROUP; (ii) UNAUTHORIZED ACCESS TO OR ALTERATION  
>>>>> OF Y
>>>>> OUR TRANSMISSIONS OR DATA; (iii) STATEMENTS OR CONDUCT OF ANY  
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>>> Please visit the Group Homepage to check the Files, and other
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>
> ------------------------------------
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> Please visit the Group Homepage to check the Files, and other  
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[Digital BW] Your long answer was Re: Prints versus screen images: A Question

2009-04-12 by john dean

That's right, that's a totally silly bogus idea. I reminds me of the corporate lawyer cats for the pharmaceutical industry trying to patent human genes and threatened to sue any scientist who used them in gene theraph. As if they created them.

In HP's case they DID create the chemical mixes, and did a pretty damn good job, but certainly not the concept of utilizing multiple grays in an inkjet printer. I think that was Cone back in the 90's with Iris printers. Maybe Jon should sue THEM...


john
Show quoted textHide quoted text
> I don't have a legal understanding of what is patentable or licenseable, but this escapes me completely. Is this possible for a pretty run of the mill idea? Didn't most of us all back in the early days of quads with MIS, Lyson, Sundance, etc all want this? It occurred to me one day back in 1998, do I have some money coming? I don't think anyone working in B&W ink would even feel the need to express such an idea, it's just a given.
> HP got in this game pretty late compared to most of us. They deserve credit for developing it and bringing it to market successfully, but the basic obvious idea is somehow worthy of infringement protection?
> Actually, weren't the NK7s the first multiply density neutral mono inks on the market?
> I have an idea, cars should use less gas. I thought of it a long time ago. Who do I invoice?
> Tyler
> http://www.custom-digital.com/
>

Re: [Digital BW] Your long answer was Re: Prints versus screen images: A Question

2009-04-12 by Bruce Watson

Tyler Boley wrote:
> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, Ernst Dinkla <edinkla@...> ...
> ...
>   
>> HP either must have that patent or have a license to use more than 2 
>> neutral greys in an inkset, all the Z models and the B9180 + B8850 have 
>> that 4 or 3 neutral grey inks as the spine in the color mode as the only 
>> inks used in a neutral B&W print.
>>
>>     
>
> I don't have a legal understanding of what is patentable or licenseable, but this escapes me completely. Is this possible for a pretty run of the mill idea? Didn't most of us all back in the early days of quads with MIS, Lyson, Sundance, etc all want this? It occurred to me one day back in 1998, do I have some money coming? I don't think anyone working in B&W ink would even feel the need to express such an idea, it's just a given.
> HP got in this game pretty late compared to most of us. They deserve credit for developing it and bringing it to market successfully, but the basic obvious idea is somehow worthy of infringement protection?
> Actually, weren't the NK7s the first multiply density neutral mono inks on the market?
> I have an idea, cars should use less gas. I thought of it a long time ago. Who do I invoice?
> Tyler
> http://www.custom-digital.com/
>   

Sadly, you can't patent an idea. You can patent a thing. So you can't 
patent the idea that cars should get better gas milage. You can however 
patent a thing that causes cars to get better gas milage, like a better 
spark plug, or direct injection. I'm just saying, it takes more to get 
obtain a patent than most people think.

You do raise an interesting point however. One of the criteria for 
awarding a patent is that the thing must be non-obvious. Clearly, that's 
not the case with multiple shades of black ink. And it's been done for a 
long time (duo-tone and tri-tone offset printing), so the technique 
isn't even new, which invalidates another of the criteria.

But... once a patent is awarded, you'll play hell (and spend some money) 
trying to get it invalidated. And you might be successful, but will you 
be successful before the patent's 20 years runs out on it's own?

Just something to think about...
--
Bruce Watson

[Digital BW] Your long answer was Re: Prints versus screen images: A Question

2009-04-12 by Tyler Boley

and actually they don't really look that neutral to me, they look coolish and very much like the PeizoTone Seleniums (pretty). Let's see, the PeizoTOne Seleniums make up the neutral quad core of the Roland DVinci system? Out before the HPs? I do believe...

Don't get me wrong, I'd have an HP in my arsenal here if I could as well, and they are certainly helping move things forward...

But maybe our history needs to be clear.
Tyler

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "john dean" <deanwork2003@...> wrote:
Show quoted textHide quoted text
>
> That's right, that's a totally silly bogus idea. I reminds me of the corporate lawyer cats for the pharmaceutical industry trying to patent human genes and threatened to sue any scientist who used them in gene theraph. As if they created them.
> 
> In HP's case they DID create the chemical mixes, and did a pretty damn good job, but certainly not the concept of utilizing multiple grays in an inkjet printer. I think that was Cone back in the 90's with Iris printers. Maybe Jon should sue THEM...
> 
> 
> john
> 
> 
> 
> 
> > I don't have a legal understanding of what is patentable or licenseable, but this escapes me completely. Is this possible for a pretty run of the mill idea? Didn't most of us all back in the early days of quads with MIS, Lyson, Sundance, etc all want this? It occurred to me one day back in 1998, do I have some money coming? I don't think anyone working in B&W ink would even feel the need to express such an idea, it's just a given.
> > HP got in this game pretty late compared to most of us. They deserve credit for developing it and bringing it to market successfully, but the basic obvious idea is somehow worthy of infringement protection?
> > Actually, weren't the NK7s the first multiply density neutral mono inks on the market?
> > I have an idea, cars should use less gas. I thought of it a long time ago. Who do I invoice?
> > Tyler
> > http://www.custom-digital.com/
> >
>

[Digital BW] Your long answer was Re: Prints versus screen images: A Question

2009-04-12 by Jon Cone

agreed. It does sound harsh as it implies that sunday shooters and scrapbookers are incapable of detecting a 5-10% fade, which they are not. But a 35% fade I find equally and universally insulting because art and photographs in that general condition of fade are worthy of a garbage bin rather than "easily noticeable fade". I hate that I made that kind of remark. Some of the best and most imaginative work I have seen lately has been coming from shooters who do not consider themselves Pros...  I apologize to all those I may have offended by that remark.

Jon




--- In DigitalBlackandWhiteThePrint@yahoogroups.com, Ernst Dinkla <edinkla@...> wrote:
Show quoted textHide quoted text
>
> 
> That Wilhelm Research has to reinvent itself from time to time doesn't 
> change the fact that it contributed a lot to the improvements made on 
> fade resistance, etc. for analogue photography, the movie archives, 
> digital printing and probably more.
>  >I would argue after reading this that the entire WIR premise of what 
> is easily noticeable is pointed at sunday shooters and scrapbookers 
> rather than fine artists and photographers<  sounds harsh then. I don't 
> think Mark McCormick would make the same remark, he probably considers 
> his institute both in testing and as an enterprise as a next step after 
> Wilhelm's work, with respect for what has been done before.
> 
> 
> -- 
> Met vriendelijke groeten,   Ernst
> 
> 
> New: Dinkla Canvas Wrap Actions
> 
> |      Dinkla Grafische Techniek      |
> |         www.pigment-print.com        |
> |                 ( unvollendet )                 |
>

[Digital BW] Re: Prints versus screen images.

2009-04-12 by john dean

Yea, he owns a company that produces black and white carbon inksets of great beauty, and he as done so for a decade and more, under very difficult circumstances, and each new one is better than the last. It is a joke to compare yourself to him, even marginally, and it's disrespectful in my opinion. Why?... for the simple reason that he is known across the world as a great PRINTMAKER first. He is one of us in other words, and that is exactly why he has so much more credibility in this monochrome digital imaging world than just about anyone I've come across. 

Having "multiple hats" doesn't make one geometrically more sophisticated and insightful in this territory. Hardly. And Certainly not a great print maker, which by the way, Cone is. And, that is significant to those of us who grew up in this photo world 30 years ago. I've known many historically great photo print makers and Jon, though he runs an ink business, happens to be one. 

john





I don't begrudge him his saleman's hat or  
Show quoted textHide quoted text
> his developer's hat; but neither do I apologize for my own, though  
> having been involved in several areas of the field, I am "biased" in  
> multiple directions at once.
> 
> C. D. Tobie
> Global Product Technology Mngr.
> Digital Imaging & Home Theater
> Datacolor.com
> CDTobie@...
>

[Digital BW] Your long answer was Re: Prints versus screen images: A Question

2009-04-12 by Jon Cone

HP has more money to defend a patent if it is challenged, than a simple challenger has to challenge the patent it might feel is based upon prior art. 

:(

Jon


--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Tyler Boley" <tyler@...> wrote:
Show quoted textHide quoted text
>
> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, Ernst Dinkla <edinkla@> ...
> ...
> > HP either must have that patent or have a license to use more than 2 
> > neutral greys in an inkset, all the Z models and the B9180 + B8850 have 
> > that 4 or 3 neutral grey inks as the spine in the color mode as the only 
> > inks used in a neutral B&W print.
> > 
> 
> I don't have a legal understanding of what is patentable or licenseable, but this escapes me completely. Is this possible for a pretty run of the mill idea? Didn't most of us all back in the early days of quads with MIS, Lyson, Sundance, etc all want this? It occurred to me one day back in 1998, do I have some money coming? I don't think anyone working in B&W ink would even feel the need to express such an idea, it's just a given.
> HP got in this game pretty late compared to most of us. They deserve credit for developing it and bringing it to market successfully, but the basic obvious idea is somehow worthy of infringement protection?
> Actually, weren't the NK7s the first multiply density neutral mono inks on the market?
> I have an idea, cars should use less gas. I thought of it a long time ago. Who do I invoice?
> Tyler
> http://www.custom-digital.com/
>

[Digital BW] Your long answer was Re: Prints versus screen images: A Question

2009-04-12 by john dean

They do look a little Selenium, but neutral too is subjective and varies depending on paper. For instance, with the Vivera PK combined with the grays on gloss fiber papers, like Innova Satin or Hahnemuhle Photorag Baryta, the look more neutral than on matte papers. They had to design something that would work across the board on many media and I think they did a good job of it. Hell of a lot better than Epson. Wish there was one more gray however.

j




--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Tyler Boley" <tyler@...> wrote:
>
> and actually they don't really look that neutral to me, they look coolish and very much like the PeizoTone Seleniums (pretty). Let's see, the PeizoTOne Seleniums make up the neutral quad core of the Roland DVinci system?

[Digital BW] Your long answer was Re: Prints versus screen images: A Question

2009-04-13 by dlruckus

I personally doubt that HP's patent for the neutral inks had anything to do with Epson's choices for their K2 & K3 ink sets. There are only about a gazilion different colorants available, along with about the same number of patents related to inks and owned by just about everyone you could name in the business of making inks at one time or the other. The chemical companies that actually make the pigments are unlikely to allow HP or Epson or any external company to lock them into being captive sources by permitting claims that no one else can use them.

Tyler, you're right about the ideas. They've been around before. HP's stated (in their patent) purpose for the ink set in discussion apparently is that it fades synchronously so is less likely to be noticeable over a longer period and uses the cheapest pigments they can get away with while accomplishing that. The rest of their patent uses techniques, like carbon particle treatments, and particular pigments and ink bases already cited in other's patents, including Epson for one.

They do use color pigments to neutralize the shades.

I think we would need to look for something other than patent rights to find why Epson's grays are greenish. Who knows-maybe it has something to do with cost/profit considerations too:-)

Regards
Duane
  

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Tyler Boley" <tyler@...> wrote:
Show quoted textHide quoted text
>
> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, Ernst Dinkla <edinkla@> ...
> ...
> > HP either must have that patent or have a license to use more than 2 
> > neutral greys in an inkset, all the Z models and the B9180 + B8850 have 
> > that 4 or 3 neutral grey inks as the spine in the color mode as the only 
> > inks used in a neutral B&W print.
> > 
> 
> I don't have a legal understanding of what is patentable or licenseable, but this escapes me completely. Is this possible for a pretty run of the mill idea? Didn't most of us all back in the early days of quads with MIS, Lyson, Sundance, etc all want this? It occurred to me one day back in 1998, do I have some money coming? I don't think anyone working in B&W ink would even feel the need to express such an idea, it's just a given.
> HP got in this game pretty late compared to most of us. They deserve credit for developing it and bringing it to market successfully, but the basic obvious idea is somehow worthy of infringement protection?
> Actually, weren't the NK7s the first multiply density neutral mono inks on the market?
> I have an idea, cars should use less gas. I thought of it a long time ago. Who do I invoice?
> Tyler
> http://www.custom-digital.com/
>

Re: [Digital BW] Re: Prints versus screen images.

2009-04-13 by Cdtobie

Jon has long been on my short list of great printmakers. Along with  
Harry Bowers, Richard Wolfson, and other less often quoted names.

C. D. Tobie
Global Product Technology Mngr.
Digital Imaging & Home Theater
Datacolor.com
CDTobie@...
Show quoted textHide quoted text
On Apr 12, 2009, at 7:09 PM, "john dean" <deanwork2003@...> wrote:

> Yea, he owns a company that produces black and white carbon inksets  
> of great beauty, and he as done so for a decade and more, under very  
> difficult circumstances, and each new one is better than the last.  
> It is a joke to compare yourself to him, even marginally, and it's  
> disrespectful in my opinion. Why?... for the simple reason that he  
> is known across the world as a great PRINTMAKER first. He is one of  
> us in other words, and that is exactly why he has so much more  
> credibility in this monochrome digital imaging world than just about  
> anyone I've come across.
>
> Having "multiple hats" doesn't make one geometrically more  
> sophisticated and insightful in this territory. Hardly. And  
> Certainly not a great print maker, which by the way, Cone is. And,  
> that is significant to those of us who grew up in this photo world  
> 30 years ago. I've known many historically great photo print makers  
> and Jon, though he runs an ink business, happens to be one.
>
> john
>
>
>
>
>
> I don't begrudge him his saleman's hat or
>> his developer's hat; but neither do I apologize for my own, though
>> having been involved in several areas of the field, I am "biased" in
>> multiple directions at once.
>>
>> C. D. Tobie
>> Global Product Technology Mngr.
>> Digital Imaging & Home Theater
>> Datacolor.com
>> CDTobie@...
>>
>
>
>
> ------------------------------------
>
> Please visit the Group Homepage to check the Files, and other  
> resources as they are often being updated.
>
> http://groups.yahoo.com/group/DigitalBlackandWhiteThePrint
>
> If you wish to receive no emails or just a daily digest, or you wish  
> to unsubscribe, please edit your Membership preferences by visiting  
> this same page.
>
> Please follow these basic guidelines:
> - As threads develop, trim off excess portions of earlier messages  
> to keep them short.
> - Good manners are required at all time. No personal attacks or  
> flames. Hostile, aggressive or argumentative users may be removed  
> from the membership without notice.
> - Keep your posts and threads related to the group topic of digital  
> B&W printing. Users who persistently make off-topic posts may be  
> removed from the membership.
> - By posting on this forum you agree to abide by the group rules and  
> guidelines, and to abide by the actions and decisions of the group  
> Owner and Moderators. See “Group Topic, Rules and Guidelines” in  
> the Files section:
> http://groups.yahoo.com/group/DigitalBlackandWhiteThePrint/files/
>
> BY PARTICIPATING IN AND/OR POSTING MESSAGES TO THE DIGITAL BW, THE  
> PRINT YAHOO! GROUP YOU EXPRESSLY UNDERSTAND AND AGREE THAT THE “OWNE 
> R” AND “MODERATORS” OF DIGITAL BW, THE PRINT YAHOO GROUP SHALL  
> NOT BE LIABLE TO YOU FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL,  
> CONSEQUENTIAL OR EXEMPLARY DAMAGES, INCLUDING BUT NOT LIMITED TO, DA 
> MAGES FOR LOSS OF PROFITS, GOODWILL, USE, DATA OR OTHER INTANGIBLE L 
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> Y OTHER MATTER RELATING TO THE DIGITAL BW, THE PRINT YAHOO GROUP.
> Yahoo! Groups Links
>
>
>

List activity of late..

2009-04-13 by Cdtobie

I'm pleased to see such an increase in list activity of late, and have  
enjoyed the flow of information. I am sorry to see the polemic crank  
up quite so much, and wish list members could avoid personal insults;  
that would certainly help keep this list welcoming to the widest range  
of posters. One more compliment Jon deserves is for his sense of  
humor, which eases things considerably! (How about: Thou shalt not  
take life too seriously; no matter how seriously thou takest thy  
printmaking.)

C. D. Tobie
Global Product Technology Mngr.
Digital Imaging & Home Theater
Datacolor.com
CDTobie@...
Show quoted textHide quoted text
On Apr 12, 2009, at 7:07 PM, "Jon Cone" <jon@inkjetmall.com> wrote:

> agreed. It does sound harsh as it implies that sunday shooters and  
> scrapbookers are incapable of detecting a 5-10% fade, which they are  
> not. But a 35% fade I find equally and universally insulting because  
> art and photographs in that general condition of fade are worthy of  
> a garbage bin rather than "easily noticeable fade". I hate that I  
> made that kind of remark. Some of the best and most imaginative work  
> I have seen lately has been coming from shooters who do not consider  
> themselves Pros...  I apologize to all those I may have offended by  
> that remark.
>
> Jon
>
>
>
>
> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, Ernst Dinkla  
> <edinkla@...> wrote:
>>
>>
>> That Wilhelm Research has to reinvent itself from time to time  
>> doesn't
>> change the fact that it contributed a lot to the improvements made on
>> fade resistance, etc. for analogue photography, the movie archives,
>> digital printing and probably more.
>>> I would argue after reading this that the entire WIR premise of what
>> is easily noticeable is pointed at sunday shooters and scrapbookers
>> rather than fine artists and photographers<  sounds harsh then. I  
>> don't
>> think Mark McCormick would make the same remark, he probably  
>> considers
>> his institute both in testing and as an enterprise as a next step  
>> after
>> Wilhelm's work, with respect for what has been done before.
>>
>>
>> -- 
>> Met vriendelijke groeten,   Ernst
>>
>>
>> New: Dinkla Canvas Wrap Actions
>>
>> |      Dinkla Grafische Techniek      |
>> |         www.pigment-print.com        |
>> |                 ( unvollendet )                 |
>>
>
>
>
>
> ------------------------------------
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> ATION OF YOUR TRANSMISSIONS OR DATA; (iii) STATEMENTS OR CONDUCT OF  
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> Y OTHER MATTER RELATING TO THE DIGITAL BW, THE PRINT YAHOO GROUP.
> Yahoo! Groups Links
>
>
>

[Digital BW] Your long answer was Re: Prints versus screen images: A Question

2009-04-13 by dlruckus

Oh. I don't know John. No offense taken but fade can be a relative thing. Perhaps even serendipitous. A case in point: In my living room I have a large print I made some 40 years ago now. It's a winter scene of a river through a wooded area with frosted branches of trees and snow on the ground with the river open but dark. I chose to blue tone the print at the time. As it was intended to be only a very temporary decoration, it was quickly made with no thought of longevity and I used a fugitive iron toner rather than gold toning it. Well,it's been fading slowly, but to my eye noticeably, for about 20 years now with the blue reverting back to gray via a cyanish intermediate in midtones. Surprisingly to me I still like the print as do others(probably those you offended had they but known it;-)).
Last summer I decided it was about time to renew it so I did and made a new one all pert and pretty. The old one is still up. Damned if I don't still like the old one. Maybe it's just one antique admiring the patina on another.

Regards,
Duane



--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Jon Cone" <jon@...> wrote:
>
 But a 35% fade I find equally and universally insulting because art and photographs in that general condition of fade are worthy of a garbage bin rather than "easily noticeable fade". I hate that I made that kind of remark. 
> 
> Jon

[Digital BW] Your long answer was Re: Prints versus screen images: A Question

2009-04-13 by Tyler Boley

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "dlruckus" <dlruckus@...> wrote:
...
> They do use color pigments to neutralize the shades...

very interesting Duane, I think there's been the impression that they don't.

I had the pipe dream the other day of throwing out all inks in an HP but all the Ks, the GO, light C, Light M, and Y. Then use all remaining available positions for more densities of their Ks (somehow).

It would be (I think) K7, with Mk or Pk option, GO, and a bit of color for toning...
If StudioPrint gives up to 7 Ks for an HP setup, they way it does the older Epson models, it could be a straight CMYK low gamut killer B&W printer...
... maybe...
John Dean is right, the PK B&W output is pretty good, just needs more grays. Will be interesting to see Jon's heated gloss multiK output.
Tyler

[Digital BW] Your long answer was Re: Prints versus screen images: A Question

2009-04-13 by pr_roark

"Tyler Boley" <tyler@...> wrote:
>
> "dlruckus" <dlruckus@> wrote:
> ...
> > They do use color pigments to neutralize the shades...
> 
> very interesting Duane, I think there's been the impression 
> that they don't.

I detected evidence that HP's neutral inks were blended and posted it in December.  See http://tech.groups.yahoo.com/group/DigitalBlackandWhiteThePrint/message/94586  

The MSDSs and patents are consistent with this.

The potential differences are that HP put a substantial amount of resources into matching the fade rates of the color pigments as well as the electrostatic and other characteristics of the pigment particles such that they do not have the tendency to separate -- or so goes the claims.

The initial fade testing I'd done as of December was not sufficient to say how well the HP inks will do comparded to others.  I kept that fade test going for longer and stopped it when I became convinced the HP inks were at least good enough to continue to put effort into.  None of the inks tested at that point showed any Lab L change (i.e., it was below my ability to measure).  The HP did end up color shifting less -- less even than the 100% Eboni, which actually became slightly cooler, presumeably because the "other" stuff in the inks was burning off.

One comment here left the impression that the HP inks may use cheaper pigments, using the "even fading" as the cover.  I'd phrase this another way.  Using the very best color pigments may not be justified if they cause the ink to color shift.  For example, if there is a super cyan that is stronger than any magenta, it makes no sense to pay more for the super cyan and end up with an inkset that green-shifts.  So, it is rational to save that money.

My conclusion is still that we want the most good carbon, but the best blended inksets might be at a point where the substrate may be the weak link in typical indoor display.  So far, I remain impressed with the HP Z3100 PK, including the diluted versions.  There have been no clogs or other issues at all with the inks in my 1400 "NC2" setup.  See http://www.paulroark.com/BW-Info/1400-NC2.pdf

Paul
www.PaulRoark.com

Re: [Digital BW] Your long answer was Re: Prints versus screen images: A Question

2009-04-13 by Ernst Dinkla

Tyler Boley schreef:
> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, Ernst Dinkla <edinkla@...> ...
> ...
>> HP either must have that patent or have a license to use more than 2 
>> neutral greys in an inkset, all the Z models and the B9180 + B8850 have 
>> that 4 or 3 neutral grey inks as the spine in the color mode as the only 
>> inks used in a neutral B&W print.
>>
> 
> I don't have a legal understanding of what is patentable or licenseable, but this escapes me completely. Is this possible for a pretty run of the mill idea? Didn't most of us all back in the early days of quads with MIS, Lyson, Sundance, etc all want this? It occurred to me one day back in 1998, do I have some money coming? I don't think anyone working in B&W ink would even feel the need to express such an idea, it's just a given.
> HP got in this game pretty late compared to most of us. They deserve credit for developing it and bringing it to market successfully, but the basic obvious idea is somehow worthy of infringement protection?
> Actually, weren't the NK7s the first multiply density neutral mono inks on the market?
> I have an idea, cars should use less gas. I thought of it a long time ago. Who do I invoice?
> Tyler
> http://www.custom-digital.com/

Tyler,

The patent suggestion was in the long answer of Jon. Whether it exists 
(and as written before in the US you can get a patent on a round ball 
tomorrow) isn't what I check, I just observe what is used in the market.


-- 
Met vriendelijke groeten,   Ernst


New: Dinkla Canvas Wrap Actions

|      Dinkla Grafische Techniek      |
|         www.pigment-print.com        |
|                 ( unvollendet )                 |

Re: [Digital BW] Your long answer was Re: Prints versus screen images: A Question

2009-04-13 by Ernst Dinkla

john dean schreef:
> That's right, that's a totally silly bogus idea. I reminds me of the corporate lawyer cats for the pharmaceutical industry trying to patent human genes and threatened to sue any scientist who used them in gene theraph. As if they created them.
> 
> In HP's case they DID create the chemical mixes, and did a pretty damn good job, but certainly not the concept of utilizing multiple grays in an inkjet printer. I think that was Cone back in the 90's with Iris printers. Maybe Jon should sue THEM...
> 
> 
> john

It is about " using more than 2 neutral grey inks in a normal (multi 
hue) ink set as I understand Jon's phrase".


-- 
Met vriendelijke groeten,   Ernst


New: Dinkla Canvas Wrap Actions

|      Dinkla Grafische Techniek      |
|         www.pigment-print.com        |
|                 ( unvollendet )                 |

Re: [Digital BW] Your long answer was Re: Prints versus screen images: A Question

2009-04-13 by Ernst Dinkla

Tyler Boley schreef:

> I had the pipe dream the other day of throwing out all inks in an HP but all the Ks, the GO, light C, Light M, and Y. Then use all remaining available positions for more densities of their Ks (somehow).
> 
> It would be (I think) K7, with Mk or Pk option, GO, and a bit of color for toning...
> If StudioPrint gives up to 7 Ks for an HP setup, they way it does the older Epson models, it could be a straight CMYK low gamut killer B&W printer...
> ... maybe...
> John Dean is right, the PK B&W output is pretty good, just needs more grays. Will be interesting to see Jon's heated gloss multiK output.
> Tyler
> 
> 

Another approach: you might check some smaller HP printers including the 
Officejets and some HP wide formats with lower specs than the Z models.
Most of them have the separate cartridges, ink tubes and user 
replaceable heads (two colors for one head) that still last a long time 
despite their low price.
Cartridges often larger than on the desktops discussed  in this list.

The real obstacle is that QTR doesn't drive HPs.  Gutenprint has the 
basics for some models so ... And then QTR preferably as a Windows 
driver that can be hooked up to Qimage, Photoshop and Acrobat.

We had lists like that 8-10 years ago. 90% of that became available and 
we still are pushing the envelope :-)


-- 
Met vriendelijke groeten,   Ernst


New: Dinkla Canvas Wrap Actions

|      Dinkla Grafische Techniek      |
|         www.pigment-print.com        |
|                 ( unvollendet )                 |

Re: [Digital BW] Your long answer was Re: Prints versus screen images: A Question

2009-04-13 by C D Tobie

On Apr 12, 2009, at 6:39 PM, Tyler Boley wrote:

> I don't have a legal understanding of what is patentable or  
> licenseable, but this escapes me completely.

One concept involved is "prior art"; if someone else has done it  
before, or publicly described it before, its not patentable. Hard to  
imagine that there isn't prior art in this area...

C. David Tobie
Global Product Technology Manager
Digital Imaging & Home Theater
CDTobie@...


  ----------



Datacolor
www.datacolor.com/Spyder3




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

[Digital BW] Your long answer was Re: Prints versus screen images: A Question

2009-04-13 by pr_roark

C D Tobie <CDTobie@...> wrote:

... 
> One concept involved is "prior art"; if someone else has done it  
> before, or publicly described it before, its not patentable. 
> Hard to imagine that there isn't prior art in this area...

The reality, however, is that large companies use the threat of litigation as an economic club to beat the small companies into submission.  "Previous art" and other defenses may be laregely irrelevant if a small company can't afford to fight.

In my previous life at the FTC, I ran into the once mighty (real) AT&T doing this.  As described by the general counsel of one of their small victims -- Intel -- AT&T claimed in patents to have, in effect, invented silicon.  They were clubbing "cross-licenses" from most of the small technology companies.  My case got folded into the DOJ case that ended splitting up AT&T.  Unfortunately, during the last 20 years an extreme "Chicago School of economics" (no capital "E" deserved there) philosophy has wiped out anti-trust enforcement.  That era, I hope, is over, but old habits die hard.  Patent abuse and the use of questionable patents to monopolize fields -- or attempt to -- is a reality we'll have to live with for a long time.  

Paul
www.PaulRoark.com

Re: Prints versus screen images.

2009-04-13 by Clayton Price

Hi All -
I've been reading posts from this group for a long time --  even  
longer from Jon Cone's piezography group and used many of his inks,  
starting with his                               first ink set. I'm  
not as interested as many of you in the down and dirty guts of mixing  
so many different combinations of ink and  
glops ,                                                   but I am a  
very good B&W printer (color too), and have learned a tremendous  
amount from both groups.

That said, I find it childish and ego wagging to read about who  
contributes the most and who "belongs here, and who doesn't". The  
fact is, Jon is a
wonderful asset to our field. David Tobie has also contributed a lot  
- often and usefully. Paul Roark, Clayton Jones, and a long line of  
others, also have
a huge knowledge base, and openness, which is wonderful for everyone.  
It's painful to see a group of such intelligent contributors go in  
that direction.

One other thing that those of us who receive this in digest form may  
be more aware of than others: That is,  I suppose in your passion to  
respond
quickly to what others are writing, a large number of this group's  
members do not trim their posts - do you really want us to read all  
the preceding                                   posts leading up to  
your remarks, or are you just being forgetful?

Best,

Clayton Price

 >>>John Dean wrote::
The title of this group is "Digital Black and White, The Print". And  
since senior Cone happens to be a master in this arena, and actually  
helped significantly in terms of pushing this technology forward in  
the last decade to where is now,... and Tobie a "Data Color"  
salesman, I think it is fairly easy to conceive who belongs here and  
who doesn't. It isn't rocket science, but it is Digital Black and  
White printing this site was designed to promote.




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

Re: [Digital BW] Re: Prints versus screen images.

2009-04-13 by C D Tobie

On Apr 13, 2009, at 1:04 PM, Clayton Price wrote:

> , a large number of this group's
> members do not trim their posts -

When responding from a computer, I have full control over that. When  
posting from an iPhone... not so much...

C. David Tobie
Global Product Technology Manager
Digital Imaging & Home Theater
CDTobie@...


  ----------



Datacolor
www.datacolor.com/Spyder3




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

Re: [Digital BW] Re: Prints versus screen images.

2009-04-13 by Mark Savoia

Do I see a need for an APP?

Mark
http://www.stillrivereditions.com

On Apr 13, 2009, at 1:37 PM, C D Tobie wrote:

>
> On Apr 13, 2009, at 1:04 PM, Clayton Price wrote:
>
>> , a large number of this group's
>> members do not trim their posts -
>
> When responding from a computer, I have full control over that. When
> posting from an iPhone... not so much...
>
> C. David Tobie
> Global Product Technology Manager
> Digital Imaging & Home Theater
> CDTobie@...
>



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

Re: Prints versus screen images.

2009-04-13 by john dean

I don't want to perpetuate this kind of dialogue either and shouldn't have responded the first time. The only reason I bothered to comment on that post was that it suggested that Cone was here (just like others) as a salesman primarily. I thought that comment was more than a tad insulting since he is a great black and white great print maker first with a lot of credibility to back it up, an innovator in THIS specific technology second, and a salesman down the line somewhere. And, when it comes to this territory of black and white inkjet imaging, not all "salesmen" are created equal. That is what was stated.

j




 
> That said, I find it childish and ego wagging to read about who  
> contributes the most and who "belongs here, and who doesn't".

OT: iPhone App Opportunity?

2009-04-13 by C D Tobie

On Apr 13, 2009, at 1:47 PM, Mark Savoia wrote:

> Do I see a need for an APP?

I see a need for select, copy, paste, and delete functions globally on  
the iPhone... I think that demand is sufficient that it will be met in  
future firmware updates, making any specialty tools (such as one to  
trim quotes) moot. Besides, without being able to select blocks of  
text, relocate them, etc... such a tool would really not be much  
better than the "put the cursor at the end, and back up" function  
thats there now; just a bit faster, perhaps.

C. David Tobie
Global Product Technology Manager
Digital Imaging & Home Theater
CDTobie@...


  ----------



Datacolor
www.datacolor.com/Spyder3




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

[Digital BW] Your long answer was Re: Prints versus screen images: A Question

2009-04-13 by dlruckus

Hi Paul. That undoubtedly was me you refer to here. I did not mean it in that sense as I did say they used the cheapest consonant with achieving their goal of an even fade rate. If you look back at the patent I believe it's actually stated that way as an intent. In any event, a hue shift will be obvious earlier than a slight density loss might be so their goal is laudable in itself. I don't remember if they mentioned a blend of more expensive pigments that could achieve the same thing with potentially an even better longevity overall.They are in business to make a profit and remain competitive both so cost has to be a factor. My comment was not meant to be a slam.

Regards,
Duane
 


--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "pr_roark" <pr_roark@...> wrote:
Show quoted textHide quoted text
>
> One comment here left the impression that the HP inks may use cheaper pigments, using the "even fading" as the cover.  I'd phrase this another way.  Using the very best color pigments may not be justified if they cause the ink to color shift.  For example, if there is a super cyan that is stronger than any magenta, it makes no sense to pay more for the super cyan and end up with an inkset that green-shifts.  So, it is rational to save that money.
> 
> Paul
> www.PaulRoark.com
>

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