QTR-Quadtone RIP

I would definitely go for the maximum density, as long as you are not on a long plateau. You may think that patches at densities of 2.6 and 2.1 look the same on the step wedge, but they would certainly look different in the shadow areas of a real print. I have just printed a low-key image on Harman Gloss Baryta and I can easily see detail in the deepest shadows - that's with a Dmax (on the print) of 2.5

It's not just the shadows that benefit in my opinion. The whole print has more "depth" with a high Dmax.

--- In QuadtoneRIP@yahoogroups.com, "Terry" <TerryGls@...> wrote:
>
> Does anyone have a comment on this observation I've had in working with QTR?
> Thanks.
> 
> --- In QuadtoneRIP@yahoogroups.com, "Terry" <TerryGls@> wrote:
> >
> > 
> > As I understand when printing out the Ink Separation Page in QTR, the Photo Black (PK) or Matte Black ink (MK) at 100% is the maximum black.  Yet visually, on most Luster/Pearl/Semi-glossy papers, the 55, 60, or 65% ink square is as black looking as the 100%.
> > 
> > For example, when I measure the 100% PK ink square on Harman Crystaljet Luster RC paper, printed with Epson inks on my R800 / R1800 with my densitometer I get 2.64.  The 60% black measures 2.13 yet visually looks as black as the 100%.  The 60% is typically chosen to create the QTR profile yet the maximum density achievable is never really used.  This general relationship is the same for all Luster/Pearl/Satin/Semi-gloss papers I've tested.
> > 
> > Yet for the inherent difference between Luster & Matte papers what is the "big deal" about high Dmax and can you really use the 100% in creating a profile?
> >
>