> -----Original Message----- > From: QuadtoneRIP@yahoogroups.com [mailto:QuadtoneRIP@yahoogroups.com] On > Behalf Of melvin9347 > Sent: Saturday, September 30, 2006 5:38 AM > To: QuadtoneRIP@yahoogroups.com > Subject: [QuadtoneRIP] newbie curve creator > > Hi, > I have an Epson stylus 870 and want to print onto Kodak premium photo > paper. I have mot got the MIS ut2 inks yet as my son is bringing them > over from the US this week with his B&W negs. My problem is I will > have to generate the curves and print the photes in the 2 days that > he will be with me. The problem that Roy or Tom can help me with is > that on page 15 of the manual Tom talks about Quadtone inks re > comparing each lighter ink with the next darker ink then converting > its density realive to black. > My Problem: does the blackest ink always remain as the base line > against which all the others are compared in turn as you move down > the grays? Yes. You compare LK with K and then compare LLK with LK and the compute its relative blackness to K. > From the manual I can read a possibility of moving down pairs of > grays and compairing max gray against each other then some how > relating that back to max black from the black ink. > Second query: In an attempt to resolve this I looked at the .qidf > file for an Epson photo paper for the Epson 1270 which has, I > believe, the same print engine as my 870 and shock horror Max black > does not appear to be used. I haven't used the UT2 inks but I have used the UT7 on a 2200. The inksets use Eboni in the K position. Eboni is a matte black and isn't used on glossy papers. In the UT7 curves the two darker toners are mixed to make black. I get fairly good dmax with this technique. However with my UT7 inks, and I think the UT2 will be similar, you will still get bronzing on glossy paper. You can reduce the brinzing by spraying the image with PermierArt Printshield. > Help as it is along way from Boston to get here next week and have no > prints > Tom Moore
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RE: [QuadtoneRIP] newbie curve creator
2006-09-30 by Tom Moore
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