QTR-Quadtone RIP

I have an Epson 2200 with the Neutral K7 inkset.  Does anyone have a profile for making 
digital negatives on Pictorico OHP film?  Any suggestions?

> I have an Epson 2200 with the Neutral K7 inkset.  Does anyone have a 
profile for making 
> digital negatives on Pictorico OHP film?  Any suggestions?
>
Your best bet is to get a copy of Mark Nelson's book and 
software, 'Precision Digital Negatives'.

Visit his website, http://www.precisiondigitalnegatives.com/, for more 
information.

I use his method and it works very well.

Don Bryant

--- In QuadtoneRIP@yahoogroups.com, "flaphoto50" <flaphoto50@...> wrote:
>
> I have an Epson 2200 with the Neutral K7 inkset.  Does anyone have a
profile for making 
> digital negatives on Pictorico OHP film?  Any suggestions?

I don't have one for neutral K7, but I have made them for my own
custom mix of MIS inks, which is slightly similar (100%, 42%, 10%, 4%,
1%, glop, and eboni). Here's a few lessons I learned.

Don't use the lightest ink in the K7 set. Nothing past about 2%
matters in a digital negative, and shaving the light ink will reduce
motteling.

Reduce the overlap parameters substantially. This will also reduce
motteling. I think I built at 3% overlap.

Build the profile at 2880, not 1440.

Try 65% as your ink limit. That sounds high for 2880 on an Epson 2200,
but the Pictorico can take it, and that will get you to a negative
density of around 2.5, if memory serves.

Do not measure densities until all the binder evaporates out of the
print. This may take a day.

Good luck, have fun.

FWIW,

Making digital negatives with black ink really doesn't yield the best 
results. The process adjusment curve required for BO negatives is 
more extreme and may actually cause certain tones to be distorted or 
lost. I would encorage you to check out Precision Digital Negatives 
if are planning to make a lot of negatives.

Don Bryant

P.S. Mark's system doesn't utilize a RIP, rather it relies on the 
Epson printer driver. Although this may sound as though control of 
the negative printing is less than say using QTR it really isn't. 
Also the dither algorithm the Epson driver uses is superior to the 
one implemented by QTR for digital negatives giving smoother results.
 
> >
> > I have an Epson 2200 with the Neutral K7 inkset.  Does anyone 
have a
> profile for making 
> > digital negatives on Pictorico OHP film?  Any suggestions?
> 
> I don't have one for neutral K7, but I have made them for my own
> custom mix of MIS inks, which is slightly similar (100%, 42%, 10%, 
4%,
> 1%, glop, and eboni). Here's a few lessons I learned.
> 
> Don't use the lightest ink in the K7 set. Nothing past about 2%
> matters in a digital negative, and shaving the light ink will reduce
> motteling.
> 
> Reduce the overlap parameters substantially. This will also reduce
> motteling. I think I built at 3% overlap.
> 
> Build the profile at 2880, not 1440.
> 
> Try 65% as your ink limit. That sounds high for 2880 on an Epson 
2200,

> but the Pictorico can take it, and that will get you to a negative
> density of around 2.5, if memory serves.
> 
> Do not measure densities until all the binder evaporates out of the
> print. This may take a day.
> 
> Good luck, have fun.
>

<<  Making digital negatives with black ink really doesn't yield the best 
results. >>

Considering that photographic papers are orthochromatic, it makes little sense to create a digital negative with a matrix of colored dots. This seems to be something not typically addressed.

Gary Reese

--- In QuadtoneRIP@yahoogroups.com, "Gary Reese" <pcacala@...> wrote:
>
> <<  Making digital negatives with black ink really doesn't yield the
best 
> results. >>
> 
> Considering that photographic papers are orthochromatic, it makes
little sense to create a digital negative with a matrix of colored
dots. This seems to be something not typically addressed.

That's an understatement. 

Multigrade papers have one sensiometric curve for green exposure,
another for blue. Neutral B&W inks are the only way to tame that mess.

And when you throw UV processes like platinum into the mix, things get
even worse for colored inks. Although it is possible to run a QTR cal
on a UV densitometer and build curves that use all the colors in their
"effective" UV densities. B&W inks make life a lot easier.

What really makes a nice negative is something QTR isn't strong at:
laying down a pretty dense pattern of low dilution inks, and using
minimal overlap. I've just been amazed that QTR can drive negative
densities up to insane levels (dmax approaching 3).

> > Considering that photographic papers are orthochromatic, it makes
> little sense to create a digital negative with a matrix of colored
> dots. This seems to be something not typically addressed.
> 
> That's an understatement. 
> 
> Multigrade papers have one sensiometric curve for green exposure,
> another for blue. Neutral B&W inks are the only way to tame that mess.
> 
> And when you throw UV processes like platinum into the mix, things get
> even worse for colored inks. Although it is possible to run a QTR cal
> on a UV densitometer and build curves that use all the colors in their
> "effective" UV densities. B&W inks make life a lot easier.

You guys are totally way off base with these comments! Colorized 
negative produce optimum results. That's been demonstrated both by Mark 
Nelson and Dan Burkholder.

My negatives for printing AZO are turquoise<sp?> green (made on an 
Epson 2200) and work great. Negatives made on a 1280 are Red colored.
Using colorized negatives for alt. processes is the cats meow.

For an example check this link out.

 http://www.zianet.com/jkschreiber/articles/1280PyroDigiNegs.html

Keith Schreiber uses a modified method as developed by Dan Burkholder.

Don Bryant