QTR-Quadtone RIP

>
> Hi all. I am new in to this forum, since I am trying to find a solution for my black and white printing workflow. I was a doing wet darkroom work for many years and just switched to digital recently (D700 and the Epson R1800). I know it is not the best printer for B&W prints, but after I tried out QTR on matte paper I was really impressed. I was rummaging the forum and read all that stuff about third party inks, Paul Roark's stuff and so on, but I do not want to convert my printer in a B&W-only-printer. Having that said, Is there any possibilty to print on luster or glossy paper with QTR on my R1800?  Or is it just time to buy a new printer (like the 2880 or the 3800)? I also read about Matt Chapin's curve-profile for glossy paper, where do  I get such a curve-profile? Thanks all of you!
>

>
> You can download the Chapin curves at http://tech.groups.yahoo.com/group/QuadtoneRIP/files/Curves/R800%20and%20R1800/R800_F-A-Pearl_2880_v10_glop_and_no_glop.zip
> 
> 
> --- In QuadtoneRIP@yahoogroups.com, "howegelimar" <howegelimar@> wrote:
> >
> > Hi all. I am new in to this forum, since I am trying to find a solution for my black and white printing workflow. I was a doing wet darkroom work for many years and just switched to digital recently (D700 and the Epson R1800). I know it is not the best printer for B&W prints, but after I tried out QTR on matte paper I was really impressed. I was rummaging the forum and read all that stuff about third party inks, Paul Roark's stuff and so on, but I do not want to convert my printer in a B&W-only-printer. Having that said, Is there any possibilty to print on luster or glossy paper with QTR on my R1800?  Or is it just time to buy a new printer (like the 2880 or the 3800)? I also read about Matt Chapin's curve-profile for glossy paper, where do  I get such a curve-profile? Thanks all of you!
> >
>

>
> Looking for help with Gloss Optimizer on R1800.
> 
> I'm trying to build a curve with the PK and MK inks in the standard Epson UC ink set as described in Tom Moore's manual, but am having trouble getting a uniform layer of GLOP.  It's fine in highlights and midtones but there isn't any over the shadows, and the effect is not pretty.
> 
> My current curve is Ink Limit 100, black boost 0, MK density 55 Limit 50, PK density 100 limit 50, GL Load Curve, limit 100.  The GL curve is presently set to values of 100 for each of the 21 steps.  I have no idea if this is the right approach for the GL settings.  The grey curve is 6-10-0-1.  The net result is still too dark but I can work on that.
> 
> I cannot use a prefab curve as a starting point as Tom Moore suggests because there aren't any.  The curves that come with Quadtone for the R800 & R1800 are all matte.  The Chapin curves are .quad files only that cannot be edited in the GUI, not the underlying .qidf files.
> 
> I've tried everything I can think of, including pasting the GL curve from the Chapin warm-glop file (which delivers uniform GLOP on my printer, but uses R and B instead of PK) into my .qidf, or substituting a GL curve with all 256 values set to 19000, but nothing so far will deliver GLOP on the shadows.
> 
> Any information on how to get this working, and what's going on under the hood, would be most appreciated.
> 
> Thanks in advance,
> Bill
> 
> 
> --- In QuadtoneRIP@yahoogroups.com, "wpshumaker" <wmpshumaker@> wrote:
> >
> > You can download the Chapin curves at http://tech.groups.yahoo.com/group/QuadtoneRIP/files/Curves/R800%20and%20R1800/R800_F-A-Pearl_2880_v10_glop_and_no_glop.zip
> > 
> > 
> > --- In QuadtoneRIP@yahoogroups.com, "howegelimar" <howegelimar@> wrote:
> > >
> > > Hi all. I am new in to this forum, since I am trying to find a solution for my black and white printing workflow. I was a doing wet darkroom work for many years and just switched to digital recently (D700 and the Epson R1800). I know it is not the best printer for B&W prints, but after I tried out QTR on matte paper I was really impressed. I was rummaging the forum and read all that stuff about third party inks, Paul Roark's stuff and so on, but I do not want to convert my printer in a B&W-only-printer. Having that said, Is there any possibilty to print on luster or glossy paper with QTR on my R1800?  Or is it just time to buy a new printer (like the 2880 or the 3800)? I also read about Matt Chapin's curve-profile for glossy paper, where do  I get such a curve-profile? Thanks all of you!
> > >
> >
>

>
> Bill
> 
> I believe you should try to avoid the glop in the shadows increasing to 100 percent on the highlights.  The only issue this will create is that you will not get glop on the absolute whites in your image.
> 
> One workaround on missing the extreme whites is to set the image file to output your image to 254 instead of 255.  The difference is minimal...and it insures that the brightest whites in your image will have glop.
> 
> My solution for controlling the glop is to consider it a toner and make a seperate curve to control it.  In effect, it is an exact reverse curve...  0 glop to the blacks...100 percent to the whites....
>  
> 
> Phil
> 
> --- In QuadtoneRIP@yahoogroups.com, "wpshumaker" <wmpshumaker@> wrote:
> >
> > Looking for help with Gloss Optimizer on R1800.
> > 
> > I'm trying to build a curve with the PK and MK inks in the standard Epson UC ink set as described in Tom Moore's manual, but am having trouble getting a uniform layer of GLOP.  It's fine in highlights and midtones but there isn't any over the shadows, and the effect is not pretty.
> > 
> > My current curve is Ink Limit 100, black boost 0, MK density 55 Limit 50, PK density 100 limit 50, GL Load Curve, limit 100.  The GL curve is presently set to values of 100 for each of the 21 steps.  I have no idea if this is the right approach for the GL settings.  The grey curve is 6-10-0-1.  The net result is still too dark but I can work on that.
> > 
> > I cannot use a prefab curve as a starting point as Tom Moore suggests because there aren't any.  The curves that come with Quadtone for the R800 & R1800 are all matte.  The Chapin curves are .quad files only that cannot be edited in the GUI, not the underlying .qidf files.
> > 
> > I've tried everything I can think of, including pasting the GL curve from the Chapin warm-glop file (which delivers uniform GLOP on my printer, but uses R and B instead of PK) into my .qidf, or substituting a GL curve with all 256 values set to 19000, but nothing so far will deliver GLOP on the shadows.
> > 
> > Any information on how to get this working, and what's going on under the hood, would be most appreciated.
> > 
> > Thanks in advance,
> > Bill
> > 
> > 
> > --- In QuadtoneRIP@yahoogroups.com, "wpshumaker" <wmpshumaker@> wrote:
> > >
> > > You can download the Chapin curves at http://tech.groups.yahoo.com/group/QuadtoneRIP/files/Curves/R800%20and%20R1800/R800_F-A-Pearl_2880_v10_glop_and_no_glop.zip
> > > 
> > > 
> > > --- In QuadtoneRIP@yahoogroups.com, "howegelimar" <howegelimar@> wrote:
> > > >
> > > > Hi all. I am new in to this forum, since I am trying to find a solution for my black and white printing workflow. I was a doing wet darkroom work for many years and just switched to digital recently (D700 and the Epson R1800). I know it is not the best printer for B&W prints, but after I tried out QTR on matte paper I was really impressed. I was rummaging the forum and read all that stuff about third party inks, Paul Roark's stuff and so on, but I do not want to convert my printer in a B&W-only-printer. Having that said, Is there any possibilty to print on luster or glossy paper with QTR on my R1800?  Or is it just time to buy a new printer (like the 2880 or the 3800)? I also read about Matt Chapin's curve-profile for glossy paper, where do  I get such a curve-profile? Thanks all of you!
> > > >
> > >
> >
>

>
> Thanks, Phil.  I can try the toner approach.  I knew about the 254 trick so that wasn't a problem.
> 
> But I don't understand - why would I not want glop on shadows?  When I print in color I want, and get, a uniform layer.  And what I'm getting now looks weird, a mix of gloss and semi-gloss effects across the print.
> 
> Bill
> 
> 
> --- In QuadtoneRIP@yahoogroups.com, "KentB" <philip@> wrote:
> >
> > Bill
> > 
> > I believe you should try to avoid the glop in the shadows increasing to 100 percent on the highlights.  The only issue this will create is that you will not get glop on the absolute whites in your image.
> > 
> > One workaround on missing the extreme whites is to set the image file to output your image to 254 instead of 255.  The difference is minimal...and it insures that the brightest whites in your image will have glop.
> > 
> > My solution for controlling the glop is to consider it a toner and make a seperate curve to control it.  In effect, it is an exact reverse curve...  0 glop to the blacks...100 percent to the whites....
> >  
> > 
> > Phil
> > 
> > --- In QuadtoneRIP@yahoogroups.com, "wpshumaker" <wmpshumaker@> wrote:
> > >
> > > Looking for help with Gloss Optimizer on R1800.
> > > 
> > > I'm trying to build a curve with the PK and MK inks in the standard Epson UC ink set as described in Tom Moore's manual, but am having trouble getting a uniform layer of GLOP.  It's fine in highlights and midtones but there isn't any over the shadows, and the effect is not pretty.
> > > 
> > > My current curve is Ink Limit 100, black boost 0, MK density 55 Limit 50, PK density 100 limit 50, GL Load Curve, limit 100.  The GL curve is presently set to values of 100 for each of the 21 steps.  I have no idea if this is the right approach for the GL settings.  The grey curve is 6-10-0-1.  The net result is still too dark but I can work on that.
> > > 
> > > I cannot use a prefab curve as a starting point as Tom Moore suggests because there aren't any.  The curves that come with Quadtone for the R800 & R1800 are all matte.  The Chapin curves are .quad files only that cannot be edited in the GUI, not the underlying .qidf files.
> > > 
> > > I've tried everything I can think of, including pasting the GL curve from the Chapin warm-glop file (which delivers uniform GLOP on my printer, but uses R and B instead of PK) into my .qidf, or substituting a GL curve with all 256 values set to 19000, but nothing so far will deliver GLOP on the shadows.
> > > 
> > > Any information on how to get this working, and what's going on under the hood, would be most appreciated.
> > > 
> > > Thanks in advance,
> > > Bill
> > > 
> > > 
> > > --- In QuadtoneRIP@yahoogroups.com, "wpshumaker" <wmpshumaker@> wrote:
> > > >
> > > > You can download the Chapin curves at http://tech.groups.yahoo.com/group/QuadtoneRIP/files/Curves/R800%20and%20R1800/R800_F-A-Pearl_2880_v10_glop_and_no_glop.zip
> > > > 
> > > > 
> > > > --- In QuadtoneRIP@yahoogroups.com, "howegelimar" <howegelimar@> wrote:
> > > > >
> > > > > Hi all. I am new in to this forum, since I am trying to find a solution for my black and white printing workflow. I was a doing wet darkroom work for many years and just switched to digital recently (D700 and the Epson R1800). I know it is not the best printer for B&W prints, but after I tried out QTR on matte paper I was really impressed. I was rummaging the forum and read all that stuff about third party inks, Paul Roark's stuff and so on, but I do not want to convert my printer in a B&W-only-printer. Having that said, Is there any possibilty to print on luster or glossy paper with QTR on my R1800?  Or is it just time to buy a new printer (like the 2880 or the 3800)? I also read about Matt Chapin's curve-profile for glossy paper, where do  I get such a curve-profile? Thanks all of you!
> > > > >
> > > >
> > >
> >
>

>
> Thanks, Phil.  I can try the toner approach.  I knew about the 254 trick so that wasn't a problem.
> 
> But I don't understand - why would I not want glop on shadows?  When I print in color I want, and get, a uniform layer.  And what I'm getting now looks weird, a mix of gloss and semi-gloss effects across the print.
> 
> Bill
> 
> 
> --- In QuadtoneRIP@yahoogroups.com, "KentB" <philip@> wrote:
> >
> > Bill
> > 
> > I believe you should try to avoid the glop in the shadows increasing to 100 percent on the highlights.  The only issue this will create is that you will not get glop on the absolute whites in your image.
> > 
> > One workaround on missing the extreme whites is to set the image file to output your image to 254 instead of 255.  The difference is minimal...and it insures that the brightest whites in your image will have glop.
> > 
> > My solution for controlling the glop is to consider it a toner and make a seperate curve to control it.  In effect, it is an exact reverse curve...  0 glop to the blacks...100 percent to the whites....
> >  
> > 
> > Phil
> > 
> > --- In QuadtoneRIP@yahoogroups.com, "wpshumaker" <wmpshumaker@> wrote:
> > >
> > > Looking for help with Gloss Optimizer on R1800.
> > > 
> > > I'm trying to build a curve with the PK and MK inks in the standard Epson UC ink set as described in Tom Moore's manual, but am having trouble getting a uniform layer of GLOP.  It's fine in highlights and midtones but there isn't any over the shadows, and the effect is not pretty.
> > > 
> > > My current curve is Ink Limit 100, black boost 0, MK density 55 Limit 50, PK density 100 limit 50, GL Load Curve, limit 100.  The GL curve is presently set to values of 100 for each of the 21 steps.  I have no idea if this is the right approach for the GL settings.  The grey curve is 6-10-0-1.  The net result is still too dark but I can work on that.
> > > 
> > > I cannot use a prefab curve as a starting point as Tom Moore suggests because there aren't any.  The curves that come with Quadtone for the R800 & R1800 are all matte.  The Chapin curves are .quad files only that cannot be edited in the GUI, not the underlying .qidf files.
> > > 
> > > I've tried everything I can think of, including pasting the GL curve from the Chapin warm-glop file (which delivers uniform GLOP on my printer, but uses R and B instead of PK) into my .qidf, or substituting a GL curve with all 256 values set to 19000, but nothing so far will deliver GLOP on the shadows.
> > > 
> > > Any information on how to get this working, and what's going on under the hood, would be most appreciated.
> > > 
> > > Thanks in advance,
> > > Bill
> > > 
> > > 
> > > --- In QuadtoneRIP@yahoogroups.com, "wpshumaker" <wmpshumaker@> wrote:
> > > >
> > > > You can download the Chapin curves at http://tech.groups.yahoo.com/group/QuadtoneRIP/files/Curves/R800%20and%20R1800/R800_F-A-Pearl_2880_v10_glop_and_no_glop.zip
> > > > 
> > > > 
> > > > --- In QuadtoneRIP@yahoogroups.com, "howegelimar" <howegelimar@> wrote:
> > > > >
> > > > > Hi all. I am new in to this forum, since I am trying to find a solution for my black and white printing workflow. I was a doing wet darkroom work for many years and just switched to digital recently (D700 and the Epson R1800). I know it is not the best printer for B&W prints, but after I tried out QTR on matte paper I was really impressed. I was rummaging the forum and read all that stuff about third party inks, Paul Roark's stuff and so on, but I do not want to convert my printer in a B&W-only-printer. Having that said, Is there any possibilty to print on luster or glossy paper with QTR on my R1800?  Or is it just time to buy a new printer (like the 2880 or the 3800)? I also read about Matt Chapin's curve-profile for glossy paper, where do  I get such a curve-profile? Thanks all of you!
> > > > >
> > > >
> > >
> >
>

>
> 
> 
> --- In QuadtoneRIP@yahoogroups.com, "arhodes19044" <spamiam@> wrote:
> >
> > Another option that I read abo9ut, and you may already know about is to print the photo in two passes.  First print the black ink, then put it through the printer again using a different ink profile which just deposits 100% GLOP everywhere.
> > 
> > I am not sure how drying time of the black ink will affect the GLOP.  Should the glop be deposited ASAP, or should the black print be totally dry to achieve a more uniform appearance?  Maybe it does nto matter at all
> 
> 100% glop on a dried print will probably be too much and might aggravate the dreaded pizza wheels.  I would try down somewhere around 35-40% and work on up to about 60% for second passes.
> 
> I've found on most F type papers a curve that lays somewhere around 80% glop initially and rapidly trails off to zero somewhere by 30% will deal with most of the gloss differential.  If you have bronzing issues then you can try the second pass technique, as I say down somewhere around 35-40 and work up until the bronzing is gone and stop before it starts to puddle.
> 
> From following Jon Cone's piezography forum it sounds like they are using dedicated glop printers to lay down the glop in lighter spray from multiple heads to make it even smoother.
>

>
> Another option that I read abo9ut, and you may already know about is to print the photo in two passes.  First print the black ink, then put it through the printer again using a different ink profile which just deposits 100% GLOP everywhere.
> 
> I am not sure how drying time of the black ink will affect the GLOP.  Should the glop be deposited ASAP, or should the black print be totally dry to achieve a more uniform appearance?  Maybe it does nto matter at all.
> 
> I have done this using the single PK curve, (maxing out at 254 on the image) then applying the glop as you mentioned.  It seems to work OK.  I have nto tried other solutions.
> 
> -Tony
> 
> --- In QuadtoneRIP@yahoogroups.com, "wpshumaker" <wmpshumaker@> wrote:
> >
> > Thanks, Phil.  I can try the toner approach.  I knew about the 254 trick so that wasn't a problem.
> > 
> > But I don't understand - why would I not want glop on shadows?  When I print in color I want, and get, a uniform layer.  And what I'm getting now looks weird, a mix of gloss and semi-gloss effects across the print.
> > 
> > Bill
> > 
> > 
> > --- In QuadtoneRIP@yahoogroups.com, "KentB" <philip@> wrote:
> > >
> > > Bill
> > > 
> > > I believe you should try to avoid the glop in the shadows increasing to 100 percent on the highlights.  The only issue this will create is that you will not get glop on the absolute whites in your image.
> > > 
> > > One workaround on missing the extreme whites is to set the image file to output your image to 254 instead of 255.  The difference is minimal...and it insures that the brightest whites in your image will have glop.
> > > 
> > > My solution for controlling the glop is to consider it a toner and make a seperate curve to control it.  In effect, it is an exact reverse curve...  0 glop to the blacks...100 percent to the whites....
> > >  
> > > 
> > > Phil
> > > 
> > > --- In QuadtoneRIP@yahoogroups.com, "wpshumaker" <wmpshumaker@> wrote:
> > > >
> > > > Looking for help with Gloss Optimizer on R1800.
> > > > 
> > > > I'm trying to build a curve with the PK and MK inks in the standard Epson UC ink set as described in Tom Moore's manual, but am having trouble getting a uniform layer of GLOP.  It's fine in highlights and midtones but there isn't any over the shadows, and the effect is not pretty.
> > > > 
> > > > My current curve is Ink Limit 100, black boost 0, MK density 55 Limit 50, PK density 100 limit 50, GL Load Curve, limit 100.  The GL curve is presently set to values of 100 for each of the 21 steps.  I have no idea if this is the right approach for the GL settings.  The grey curve is 6-10-0-1.  The net result is still too dark but I can work on that.
> > > > 
> > > > I cannot use a prefab curve as a starting point as Tom Moore suggests because there aren't any.  The curves that come with Quadtone for the R800 & R1800 are all matte.  The Chapin curves are .quad files only that cannot be edited in the GUI, not the underlying .qidf files.
> > > > 
> > > > I've tried everything I can think of, including pasting the GL curve from the Chapin warm-glop file (which delivers uniform GLOP on my printer, but uses R and B instead of PK) into my .qidf, or substituting a GL curve with all 256 values set to 19000, but nothing so far will deliver GLOP on the shadows.
> > > > 
> > > > Any information on how to get this working, and what's going on under the hood, would be most appreciated.
> > > > 
> > > > Thanks in advance,
> > > > Bill
> > > > 
> > > > 
> > > > --- In QuadtoneRIP@yahoogroups.com, "wpshumaker" <wmpshumaker@> wrote:
> > > > >
> > > > > You can download the Chapin curves at http://tech.groups.yahoo.com/group/QuadtoneRIP/files/Curves/R800%20and%20R1800/R800_F-A-Pearl_2880_v10_glop_and_no_glop.zip
> > > > > 
> > > > > 
> > > > > --- In QuadtoneRIP@yahoogroups.com, "howegelimar" <howegelimar@> wrote:
> > > > > >
> > > > > > Hi all. I am new in to this forum, since I am trying to find a solution for my black and white printing workflow. I was a doing wet darkroom work for many years and just switched to digital recently (D700 and the Epson R1800). I know it is not the best printer for B&W prints, but after I tried out QTR on matte paper I was really impressed. I was rummaging the forum and read all that stuff about third party inks, Paul Roark's stuff and so on, but I do not want to convert my printer in a B&W-only-printer. Having that said, Is there any possibilty to print on luster or glossy paper with QTR on my R1800?  Or is it just time to buy a new printer (like the 2880 or the 3800)? I also read about Matt Chapin's curve-profile for glossy paper, where do  I get such a curve-profile? Thanks all of you!
> > > > > >
> > > > >
> > > >
> > >
> >
>

>
> I've been pursing a similar objective with std Epson inks for the R800 / R1800 and obtaining a somewhat neutral black or slightly warm tone on Epson Ultra Premium Luster paper with a high Dmax.  Also, trying to address the bronzing issue with Gloss Optimizer.
> 
> See my posts http://tech.groups.yahoo.com/group/QuadtoneRIP/message/8071 for some additional info.
> 
> I'm using QTR on a PC with color management Adobe RGB(98) & Gray Gamma 2.2 (very important not to have Dot gain 20% or some other gray option).
> 
> I determined the max PK ink density on the Luster paper occurred with a 63% ink amount with a densitometer reading of 2.54.  I added Limit of 2 for the other colors copying the PK curve, added a Gloss curve developed in Photoshop, and linearized using Chart Throb to obtain another curve in Photoshop.
> 
> The details:  Open Curve Creation in QTR (Tools>Curve Creation).  Be sure your Printing Model shows up as QuadR800 or QuadR1800.  Do a File Save as naming your profile which should be saved in Program Files>QuadtoneRip>Profiles>R800-uc>your file name.
> 
> There are 6 TABS: Ink Setup, Gray Curve, Toner Curve, Toner 2 Curve, Linearization, and Notes
> 
> On the Ink Setup TAB you want Default Ink Limit 100, Black Boost 100
> The Matte Black (MK) Drop down "Not used"
> Cyan Drop down "Copy curve from" PK 2
> Magenta, Yellow, Red, and Blue should be same as Cyan
> Photo Black (PK) Density 100, Limit 95 (you'll see in next TAB the Limit is much less due to the Gamma setting I'm using) 
> Gloss (GL) Drop down "Load Curve" and Curve box shows up where you will load* a Photoshop .ACV curve, Limit 100
> 
> *To create the Gloss curve in Photoshop:  Open any image in PS and convert to Grayscale as QTR needs Gray .ACV curves.  Add an Adjustment Layer and be sure the black is to the far left and bottom of the straight line (Curve Display Options set on Light, not Pigment/Ink).  This will be an "L" shaped curve that I've found solves most of the bronzing.  The points you can add are starting from the left side: Input/Output: 0;255 14;100 43;28 55;28 91;28 255;28.  If you want some Gloss on the 100% black change the first setting to 0;250 and smooth the curve if needed.  Save the .ACV curve naming it something simple as I've found QTR does not recognize all the names one could use in Photoshop.  Again make sure this a Gray .ACV curve.  Load this curve in the Gloss (GL) Curve Box.
> 
> Next go to the Gray Curve TAB and enter Highlight 1, Shadow 1.4, Overlap leave blank, Gamma 5.1 (this reduces the maximum ink density to approx 63% and reduces the ink in the mid and lower values such that you need a very minimum Linearization approach.  For now in the Curve space put "0;0 100;100"  (I start with this and print out a Chart Throb step wedge, scan it to get a PS .ACV curve (gray scale) and then add the curve here.)  My Curve here is almost a straight line and you will probably be happy without getting into the Linearization thing.
> 
> We won't need the next three TABS (Toner, Toner 2, Linearization) and you can add information if you want to the Notes TAB.
> 
> Now press the Show Curve box and QTR will ask if you want to Save Ink Description? Say Yes as you have pre-named your file and you won't be overwriting another file.
> 
> Go to the Main QTR page and my settings are Printer: QuadR800 or R1800; Type: Photo Paper (I don't think this makes any difference); Curve 1: your curve created; Resolution: 2880 dpi; Speed: Uni-directional; Dither Algorithm: Adaptive Hybird
> 
> I would appreciate any comments or suggestions.
> 
> Terry
> 
> --- In QuadtoneRIP@yahoogroups.com, "robert49brake" <robert49brake@> wrote:
> >
> > 
> > 
> > --- In QuadtoneRIP@yahoogroups.com, "arhodes19044" <spamiam@> wrote:
> > >
> > > Another option that I read abo9ut, and you may already know about is to print the photo in two passes.  First print the black ink, then put it through the printer again using a different ink profile which just deposits 100% GLOP everywhere.
> > > 
> > > I am not sure how drying time of the black ink will affect the GLOP.  Should the glop be deposited ASAP, or should the black print be totally dry to achieve a more uniform appearance?  Maybe it does nto matter at all
> > 
> > 100% glop on a dried print will probably be too much and might aggravate the dreaded pizza wheels.  I would try down somewhere around 35-40% and work on up to about 60% for second passes.
> > 
> > I've found on most F type papers a curve that lays somewhere around 80% glop initially and rapidly trails off to zero somewhere by 30% will deal with most of the gloss differential.  If you have bronzing issues then you can try the second pass technique, as I say down somewhere around 35-40 and work up until the bronzing is gone and stop before it starts to puddle.
> > 
> > From following Jon Cone's piezography forum it sounds like they are using dedicated glop printers to lay down the glop in lighter spray from multiple heads to make it even smoother.
> >
>

>
> Thanks, Terry, for this very thorough post.  I'll give it a try, for its own sake and in the forlorn hope that it may affect my issue posted in message 8109.  Thanks in particular for the instructions on creating the .acv curve, which has so far been a complete undocumented mystery to me.
> 
> Bill
> 
> 
> 
> --- In QuadtoneRIP@yahoogroups.com, "Terry" <TerryGls@> wrote:
> >
> > I've been pursing a similar objective with std Epson inks for the R800 / R1800 and obtaining a somewhat neutral black or slightly warm tone on Epson Ultra Premium Luster paper with a high Dmax.  Also, trying to address the bronzing issue with Gloss Optimizer.
> > 
> > See my posts http://tech.groups.yahoo.com/group/QuadtoneRIP/message/8071 for some additional info.
> > 
> > I'm using QTR on a PC with color management Adobe RGB(98) & Gray Gamma 2.2 (very important not to have Dot gain 20% or some other gray option).
> > 
> > I determined the max PK ink density on the Luster paper occurred with a 63% ink amount with a densitometer reading of 2.54.  I added Limit of 2 for the other colors copying the PK curve, added a Gloss curve developed in Photoshop, and linearized using Chart Throb to obtain another curve in Photoshop.
> > 
> > The details:  Open Curve Creation in QTR (Tools>Curve Creation).  Be sure your Printing Model shows up as QuadR800 or QuadR1800.  Do a File Save as naming your profile which should be saved in Program Files>QuadtoneRip>Profiles>R800-uc>your file name.
> > 
> > There are 6 TABS: Ink Setup, Gray Curve, Toner Curve, Toner 2 Curve, Linearization, and Notes
> > 
> > On the Ink Setup TAB you want Default Ink Limit 100, Black Boost 100
> > The Matte Black (MK) Drop down "Not used"
> > Cyan Drop down "Copy curve from" PK 2
> > Magenta, Yellow, Red, and Blue should be same as Cyan
> > Photo Black (PK) Density 100, Limit 95 (you'll see in next TAB the Limit is much less due to the Gamma setting I'm using) 
> > Gloss (GL) Drop down "Load Curve" and Curve box shows up where you will load* a Photoshop .ACV curve, Limit 100
> > 
> > *To create the Gloss curve in Photoshop:  Open any image in PS and convert to Grayscale as QTR needs Gray .ACV curves.  Add an Adjustment Layer and be sure the black is to the far left and bottom of the straight line (Curve Display Options set on Light, not Pigment/Ink).  This will be an "L" shaped curve that I've found solves most of the bronzing.  The points you can add are starting from the left side: Input/Output: 0;255 14;100 43;28 55;28 91;28 255;28.  If you want some Gloss on the 100% black change the first setting to 0;250 and smooth the curve if needed.  Save the .ACV curve naming it something simple as I've found QTR does not recognize all the names one could use in Photoshop.  Again make sure this a Gray .ACV curve.  Load this curve in the Gloss (GL) Curve Box.
> > 
> > Next go to the Gray Curve TAB and enter Highlight 1, Shadow 1.4, Overlap leave blank, Gamma 5.1 (this reduces the maximum ink density to approx 63% and reduces the ink in the mid and lower values such that you need a very minimum Linearization approach.  For now in the Curve space put "0;0 100;100"  (I start with this and print out a Chart Throb step wedge, scan it to get a PS .ACV curve (gray scale) and then add the curve here.)  My Curve here is almost a straight line and you will probably be happy without getting into the Linearization thing.
> > 
> > We won't need the next three TABS (Toner, Toner 2, Linearization) and you can add information if you want to the Notes TAB.
> > 
> > Now press the Show Curve box and QTR will ask if you want to Save Ink Description? Say Yes as you have pre-named your file and you won't be overwriting another file.
> > 
> > Go to the Main QTR page and my settings are Printer: QuadR800 or R1800; Type: Photo Paper (I don't think this makes any difference); Curve 1: your curve created; Resolution: 2880 dpi; Speed: Uni-directional; Dither Algorithm: Adaptive Hybird
> > 
> > I would appreciate any comments or suggestions.
> > 
> > Terry
> > 
> > --- In QuadtoneRIP@yahoogroups.com, "robert49brake" <robert49brake@> wrote:
> > >
> > > 
> > > 
> > > --- In QuadtoneRIP@yahoogroups.com, "arhodes19044" <spamiam@> wrote:
> > > >
> > > > Another option that I read abo9ut, and you may already know about is to print the photo in two passes.  First print the black ink, then put it through the printer again using a different ink profile which just deposits 100% GLOP everywhere.
> > > > 
> > > > I am not sure how drying time of the black ink will affect the GLOP.  Should the glop be deposited ASAP, or should the black print be totally dry to achieve a more uniform appearance?  Maybe it does nto matter at all
> > > 
> > > 100% glop on a dried print will probably be too much and might aggravate the dreaded pizza wheels.  I would try down somewhere around 35-40% and work on up to about 60% for second passes.
> > > 
> > > I've found on most F type papers a curve that lays somewhere around 80% glop initially and rapidly trails off to zero somewhere by 30% will deal with most of the gloss differential.  If you have bronzing issues then you can try the second pass technique, as I say down somewhere around 35-40 and work up until the bronzing is gone and stop before it starts to puddle.
> > > 
> > > From following Jon Cone's piezography forum it sounds like they are using dedicated glop printers to lay down the glop in lighter spray from multiple heads to make it even smoother.
> > >
> >
>

From: "Terry" <TerryGls@...>
To: <QuadtoneRIP@yahoogroups.com>
Sent: Tuesday, October 27, 2009 8:18 PM
Subject: [QuadtoneRIP] Re: Printing glossy b&w on R1800


> Bill ... your welcome.
>
> I should have added about the Gloss not printing on pure white (PS 255) 
> which has been discussed in this group.  The work-around is to take your 
> final PS image and do an output levels adjust as follows: 
> Image>Adjustments>Levels & set the bottom OUTPUT slider to 254.
>
> Also, I size my images to the output size I'm printing and 360dpi.  Has 
> anyone run tests to see if lower dpi's give acceptable results?
>
> Thanks, Terry
>
> --- In QuadtoneRIP@yahoogroups.com, "wpshumaker" <wmpshumaker@...> wrote:
>>
>> Thanks, Terry, for this very thorough post.  I'll give it a try, for its 
>> own sake and in the forlorn hope that it may affect my issue posted in 
>> message 8109.  Thanks in particular for the instructions on creating the 
>> .acv curve, which has so far been a complete undocumented mystery to me.
>>
>> Bill
>>
>>
>>
>> --- In QuadtoneRIP@yahoogroups.com, "Terry" <TerryGls@> wrote:
>> >
>> > I've been pursing a similar objective with std Epson inks for the R800 
>> > / R1800 and obtaining a somewhat neutral black or slightly warm tone on 
>> > Epson Ultra Premium Luster paper with a high Dmax.  Also, trying to 
>> > address the bronzing issue with Gloss Optimizer.
>> >
>> > See my posts 
>> > http://tech.groups.yahoo.com/group/QuadtoneRIP/message/8071 for some 
>> > additional info.
>> >
>> > I'm using QTR on a PC with color management Adobe RGB(98) & Gray Gamma 
>> > 2.2 (very important not to have Dot gain 20% or some other gray 
>> > option).
>> >
>> > I determined the max PK ink density on the Luster paper occurred with a 
>> > 63% ink amount with a densitometer reading of 2.54.  I added Limit of 2 
>> > for the other colors copying the PK curve, added a Gloss curve 
>> > developed in Photoshop, and linearized using Chart Throb to obtain 
>> > another curve in Photoshop.
>> >
>> > The details:  Open Curve Creation in QTR (Tools>Curve Creation).  Be 
>> > sure your Printing Model shows up as QuadR800 or QuadR1800.  Do a File 
>> > Save as naming your profile which should be saved in Program 
>> > Files>QuadtoneRip>Profiles>R800-uc>your file name.
>> >
>> > There are 6 TABS: Ink Setup, Gray Curve, Toner Curve, Toner 2 Curve, 
>> > Linearization, and Notes
>> >
>> > On the Ink Setup TAB you want Default Ink Limit 100, Black Boost 100
>> > The Matte Black (MK) Drop down "Not used"
>> > Cyan Drop down "Copy curve from" PK 2
>> > Magenta, Yellow, Red, and Blue should be same as Cyan
>> > Photo Black (PK) Density 100, Limit 95 (you'll see in next TAB the 
>> > Limit is much less due to the Gamma setting I'm using)
>> > Gloss (GL) Drop down "Load Curve" and Curve box shows up where you will 
>> > load* a Photoshop .ACV curve, Limit 100
>> >
>> > *To create the Gloss curve in Photoshop:  Open any image in PS and 
>> > convert to Grayscale as QTR needs Gray .ACV curves.  Add an Adjustment 
>> > Layer and be sure the black is to the far left and bottom of the 
>> > straight line (Curve Display Options set on Light, not Pigment/Ink). 
>> > This will be an "L" shaped curve that I've found solves most of the 
>> > bronzing.  The points you can add are starting from the left side: 
>> > Input/Output: 0;255 14;100 43;28 55;28 91;28 255;28.  If you want some 
>> > Gloss on the 100% black change the first setting to 0;250 and smooth 
>> > the curve if needed.  Save the .ACV curve naming it something simple as 
>> > I've found QTR does not recognize all the names one could use in 
>> > Photoshop.  Again make sure this a Gray .ACV curve.  Load this curve in 
>> > the Gloss (GL) Curve Box.
>> >
>> > Next go to the Gray Curve TAB and enter Highlight 1, Shadow 1.4, 
>> > Overlap leave blank, Gamma 5.1 (this reduces the maximum ink density to 
>> > approx 63% and reduces the ink in the mid and lower values such that 
>> > you need a very minimum Linearization approach.  For now in the Curve 
>> > space put "0;0 100;100"  (I start with this and print out a Chart Throb 
>> > step wedge, scan it to get a PS .ACV curve (gray scale) and then add 
>> > the curve here.)  My Curve here is almost a straight line and you will 
>> > probably be happy without getting into the Linearization thing.
>> >
>> > We won't need the next three TABS (Toner, Toner 2, Linearization) and 
>> > you can add information if you want to the Notes TAB.
>> >
>> > Now press the Show Curve box and QTR will ask if you want to Save Ink 
>> > Description? Say Yes as you have pre-named your file and you won't be 
>> > overwriting another file.
>> >
>> > Go to the Main QTR page and my settings are Printer: QuadR800 or R1800; 
>> > Type: Photo Paper (I don't think this makes any difference); Curve 1: 
>> > your curve created; Resolution: 2880 dpi; Speed: Uni-directional; 
>> > Dither Algorithm: Adaptive Hybird
>> >
>> > I would appreciate any comments or suggestions.
>> >
>> > Terry
>> >
>> > --- In QuadtoneRIP@yahoogroups.com, "robert49brake" <robert49brake@> 
>> > wrote:
>> > >
>> > >
>> > >
>> > > --- In QuadtoneRIP@yahoogroups.com, "arhodes19044" <spamiam@> wrote:
>> > > >
>> > > > Another option that I read abo9ut, and you may already know about 
>> > > > is to print the photo in two passes.  First print the black ink, 
>> > > > then put it through the printer again using a different ink profile 
>> > > > which just deposits 100% GLOP everywhere.
>> > > >
>> > > > I am not sure how drying time of the black ink will affect the 
>> > > > GLOP.  Should the glop be deposited ASAP, or should the black print 
>> > > > be totally dry to achieve a more uniform appearance?  Maybe it does 
>> > > > nto matter at all
>> > >
>> > > 100% glop on a dried print will probably be too much and might 
>> > > aggravate the dreaded pizza wheels.  I would try down somewhere 
>> > > around 35-40% and work on up to about 60% for second passes.
>> > >
>> > > I've found on most F type papers a curve that lays somewhere around 
>> > > 80% glop initially and rapidly trails off to zero somewhere by 30% 
>> > > will deal with most of the gloss differential.  If you have bronzing 
>> > > issues then you can try the second pass technique, as I say down 
>> > > somewhere around 35-40 and work up until the bronzing is gone and 
>> > > stop before it starts to puddle.
>> > >
>> > > From following Jon Cone's piezography forum it sounds like they are 
>> > > using dedicated glop printers to lay down the glop in lighter spray 
>> > > from multiple heads to make it even smoother.
>> > >
>> >
>>
>
>
>
>
> ------------------------------------
>
> Yahoo! Groups Links
>
>
>
>

>
> 360 is native resolution for the smaller format epson printers.....at least 
> thats what it was 18 months ago which would include the 1800........and 
> there can be some difference seen on them in some instances as opposed to 
> 300
> ----- Original Message ----- 
> From: "Terry" <TerryGls@...>
> To: <QuadtoneRIP@yahoogroups.com>
> Sent: Tuesday, October 27, 2009 8:18 PM
> Subject: [QuadtoneRIP] Re: Printing glossy b&w on R1800
> 
> 
> > Bill ... your welcome.
> >
> > I should have added about the Gloss not printing on pure white (PS 255) 
> > which has been discussed in this group.  The work-around is to take your 
> > final PS image and do an output levels adjust as follows: 
> > Image>Adjustments>Levels & set the bottom OUTPUT slider to 254.
> >
> > Also, I size my images to the output size I'm printing and 360dpi.  Has 
> > anyone run tests to see if lower dpi's give acceptable results?
> >
> > Thanks, Terry
> >
> > --- In QuadtoneRIP@yahoogroups.com, "wpshumaker" <wmpshumaker@> wrote:
> >>
> >> Thanks, Terry, for this very thorough post.  I'll give it a try, for its 
> >> own sake and in the forlorn hope that it may affect my issue posted in 
> >> message 8109.  Thanks in particular for the instructions on creating the 
> >> .acv curve, which has so far been a complete undocumented mystery to me.
> >>
> >> Bill
> >>
> >>
> >>
> >> --- In QuadtoneRIP@yahoogroups.com, "Terry" <TerryGls@> wrote:
> >> >
> >> > I've been pursing a similar objective with std Epson inks for the R800 
> >> > / R1800 and obtaining a somewhat neutral black or slightly warm tone on 
> >> > Epson Ultra Premium Luster paper with a high Dmax.  Also, trying to 
> >> > address the bronzing issue with Gloss Optimizer.
> >> >
> >> > See my posts 
> >> > http://tech.groups.yahoo.com/group/QuadtoneRIP/message/8071 for some 
> >> > additional info.
> >> >
> >> > I'm using QTR on a PC with color management Adobe RGB(98) & Gray Gamma 
> >> > 2.2 (very important not to have Dot gain 20% or some other gray 
> >> > option).
> >> >
> >> > I determined the max PK ink density on the Luster paper occurred with a 
> >> > 63% ink amount with a densitometer reading of 2.54.  I added Limit of 2 
> >> > for the other colors copying the PK curve, added a Gloss curve 
> >> > developed in Photoshop, and linearized using Chart Throb to obtain 
> >> > another curve in Photoshop.
> >> >
> >> > The details:  Open Curve Creation in QTR (Tools>Curve Creation).  Be 
> >> > sure your Printing Model shows up as QuadR800 or QuadR1800.  Do a File 
> >> > Save as naming your profile which should be saved in Program 
> >> > Files>QuadtoneRip>Profiles>R800-uc>your file name.
> >> >
> >> > There are 6 TABS: Ink Setup, Gray Curve, Toner Curve, Toner 2 Curve, 
> >> > Linearization, and Notes
> >> >
> >> > On the Ink Setup TAB you want Default Ink Limit 100, Black Boost 100
> >> > The Matte Black (MK) Drop down "Not used"
> >> > Cyan Drop down "Copy curve from" PK 2
> >> > Magenta, Yellow, Red, and Blue should be same as Cyan
> >> > Photo Black (PK) Density 100, Limit 95 (you'll see in next TAB the 
> >> > Limit is much less due to the Gamma setting I'm using)
> >> > Gloss (GL) Drop down "Load Curve" and Curve box shows up where you will 
> >> > load* a Photoshop .ACV curve, Limit 100
> >> >
> >> > *To create the Gloss curve in Photoshop:  Open any image in PS and 
> >> > convert to Grayscale as QTR needs Gray .ACV curves.  Add an Adjustment 
> >> > Layer and be sure the black is to the far left and bottom of the 
> >> > straight line (Curve Display Options set on Light, not Pigment/Ink). 
> >> > This will be an "L" shaped curve that I've found solves most of the 
> >> > bronzing.  The points you can add are starting from the left side: 
> >> > Input/Output: 0;255 14;100 43;28 55;28 91;28 255;28.  If you want some 
> >> > Gloss on the 100% black change the first setting to 0;250 and smooth 
> >> > the curve if needed.  Save the .ACV curve naming it something simple as 
> >> > I've found QTR does not recognize all the names one could use in 
> >> > Photoshop.  Again make sure this a Gray .ACV curve.  Load this curve in 
> >> > the Gloss (GL) Curve Box.
> >> >
> >> > Next go to the Gray Curve TAB and enter Highlight 1, Shadow 1.4, 
> >> > Overlap leave blank, Gamma 5.1 (this reduces the maximum ink density to 
> >> > approx 63% and reduces the ink in the mid and lower values such that 
> >> > you need a very minimum Linearization approach.  For now in the Curve 
> >> > space put "0;0 100;100"  (I start with this and print out a Chart Throb 
> >> > step wedge, scan it to get a PS .ACV curve (gray scale) and then add 
> >> > the curve here.)  My Curve here is almost a straight line and you will 
> >> > probably be happy without getting into the Linearization thing.
> >> >
> >> > We won't need the next three TABS (Toner, Toner 2, Linearization) and 
> >> > you can add information if you want to the Notes TAB.
> >> >
> >> > Now press the Show Curve box and QTR will ask if you want to Save Ink 
> >> > Description? Say Yes as you have pre-named your file and you won't be 
> >> > overwriting another file.
> >> >
> >> > Go to the Main QTR page and my settings are Printer: QuadR800 or R1800; 
> >> > Type: Photo Paper (I don't think this makes any difference); Curve 1: 
> >> > your curve created; Resolution: 2880 dpi; Speed: Uni-directional; 
> >> > Dither Algorithm: Adaptive Hybird
> >> >
> >> > I would appreciate any comments or suggestions.
> >> >
> >> > Terry
> >> >
> >> > --- In QuadtoneRIP@yahoogroups.com, "robert49brake" <robert49brake@> 
> >> > wrote:
> >> > >
> >> > >
> >> > >
> >> > > --- In QuadtoneRIP@yahoogroups.com, "arhodes19044" <spamiam@> wrote:
> >> > > >
> >> > > > Another option that I read abo9ut, and you may already know about 
> >> > > > is to print the photo in two passes.  First print the black ink, 
> >> > > > then put it through the printer again using a different ink profile 
> >> > > > which just deposits 100% GLOP everywhere.
> >> > > >
> >> > > > I am not sure how drying time of the black ink will affect the 
> >> > > > GLOP.  Should the glop be deposited ASAP, or should the black print 
> >> > > > be totally dry to achieve a more uniform appearance?  Maybe it does 
> >> > > > nto matter at all
> >> > >
> >> > > 100% glop on a dried print will probably be too much and might 
> >> > > aggravate the dreaded pizza wheels.  I would try down somewhere 
> >> > > around 35-40% and work on up to about 60% for second passes.
> >> > >
> >> > > I've found on most F type papers a curve that lays somewhere around 
> >> > > 80% glop initially and rapidly trails off to zero somewhere by 30% 
> >> > > will deal with most of the gloss differential.  If you have bronzing 
> >> > > issues then you can try the second pass technique, as I say down 
> >> > > somewhere around 35-40 and work up until the bronzing is gone and 
> >> > > stop before it starts to puddle.
> >> > >
> >> > > From following Jon Cone's piezography forum it sounds like they are 
> >> > > using dedicated glop printers to lay down the glop in lighter spray 
> >> > > from multiple heads to make it even smoother.
> >> > >
> >> >
> >>
> >
> >
> >
> >
> > ------------------------------------
> >
> > Yahoo! Groups Links
> >
> >
> >
> >
>

-----Original Message-----
From: QuadtoneRIP@yahoogroups.com [mailto:QuadtoneRIP@yahoogroups.com] On
Behalf Of igor_mountain
Sent: Saturday, January 30, 2010 11:52 AM
To: QuadtoneRIP@yahoogroups.com
Subject: [QuadtoneRIP] Re: Printing from CS4 Vista x64


Hi Mike,

On Vista, you need to use QTR as a stand-alone program, you won't be
printing from Photoshop as Mac users do.  Save your image as a TIFF file in
Photoshop, start QTRgui and do File->Select Image.  The Print button in
QTRgui will be activated and you will be able to print.

Igor

From: Mike Johnston <wpajohnson@...>
Subject: [QuadtoneRIP] Printing from CS4 Vista x64
To: QuadtoneRIP@yahoogroups.com
Received: Saturday, January 30, 2010, 11:08 AM







 



  


    
      
      
      Hi,

I have an Epson R280 and I am thinking about upgrading to an R1400.

In Photoshop I don't see any way to select QTR as a printer.

Did I install wrong?

Will this work better with the 1400?



Thanks

Mike J.





    
     

    
    


 



  






      __________________________________________________________________
Get the name you've always wanted @... or @rocketmail.com! Go to http://ca.promos.yahoo.com/jacko/

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

-----Original Message-----
From: QuadtoneRIP@yahoogroups.com [mailto:QuadtoneRIP@yahoogroups.com] On
Behalf Of George Butch
Sent: Tuesday, February 02, 2010 2:29 PM
To: QuadtoneRIP@yahoogroups.com
Subject: Re: [QuadtoneRIP] Printing from CS4 Vista x64

It seems to me that this difference between MAC and PC versions of QTR is a
constant source of confusion for many, including me.  I am totally ignorant
of the MAC world and so I don't understand why this difference exists.  

I gather there is some mysterious reason why the PC version must work stand
alone while the MAC version can be accessed within PhotoShop.  And it's just
as likely that I would not understand the reason, even if it were explained.
It just seems to be the way it is.  It's inconvenient though, to edit an
image in PS and then have to leave the PS environment to print it.  On the
other hand, I love the resulting print and I'm grateful the program exists.

I'm a photographer, not a computer wizard.  My computer is just a tool. But
I do have a suggestion.  How about if we all get in the habit of identifying
ourselves as MAC or PC users when posting a question in the forum.  I have
lost track of the number of times I have tried to follow an explanation only
to discover well into it that it doesn't apply to me.

Thanks.

George...  

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



------------------------------------

Yahoo! Groups Links

From: QuadtoneRIP@yahoogroups.com [mailto:QuadtoneRIP@yahoogroups.com] On
Behalf Of Peter Marquis-Kyle
Sent: Tuesday, February 02, 2010 6:33 PM
To: QuadtoneRIP@yahoogroups.com
Subject: Re: [QuadtoneRIP] Printing from CS4 Vista x64

 

  

On 3/02/2010 Stephen Billard wrote:
> ...so I just made an application to help me use QTR. But usually 
> when I do this I make it so the application is useable by others.

...for which Windows users are always very grateful! Thank you!

Peter Marquis-Kyle





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

-----Original Message-----
From: QuadtoneRIP@yahoogroups.com [mailto:QuadtoneRIP@yahoogroups.com] On
Behalf Of Stephen Billard
Sent: Tuesday, February 02, 2010 4:54 PM
To: QuadtoneRIP@yahoogroups.com
Subject: RE: [QuadtoneRIP] Printing from CS4 Vista x64

The "Mysterious" reason is that no one with the skills to make a Windows
printer driver out of QTR has done so. I don't have that skill set, so I
just made an application to help me use QTR. But usually when I do this I
make it so the application is useable by others.

-----Original Message-----
From: QuadtoneRIP@yahoogroups.com [mailto:QuadtoneRIP@yahoogroups.com] On
Behalf Of George Butch
Sent: Tuesday, February 02, 2010 2:29 PM
To: QuadtoneRIP@yahoogroups.com
Subject: Re: [QuadtoneRIP] Printing from CS4 Vista x64

It seems to me that this difference between MAC and PC versions of QTR is a
constant source of confusion for many, including me.  I am totally ignorant
of the MAC world and so I don't understand why this difference exists.

I gather there is some mysterious reason why the PC version must work stand
alone while the MAC version can be accessed within PhotoShop.  And it's just
as likely that I would not understand the reason, even if it were explained.
It just seems to be the way it is.  It's inconvenient though, to edit an
image in PS and then have to leave the PS environment to print it.  On the
other hand, I love the resulting print and I'm grateful the program exists.

I'm a photographer, not a computer wizard.  My computer is just a tool. But
I do have a suggestion.  How about if we all get in the habit of identifying
ourselves as MAC or PC users when posting a question in the forum.  I have
lost track of the number of times I have tried to follow an explanation only
to discover well into it that it doesn't apply to me.

Thanks.

George...

>
> Hi Stephen,
> I am new here.
> Which program have you developed and made public?
> Thanks
> Mike J.
> 
> -----Original Message-----
> From: QuadtoneRIP@yahoogroups.com [mailto:QuadtoneRIP@yahoogroups.com] On
> Behalf Of Stephen Billard
> Sent: Tuesday, February 02, 2010 4:54 PM
> To: QuadtoneRIP@yahoogroups.com
> Subject: RE: [QuadtoneRIP] Printing from CS4 Vista x64
> 
> The "Mysterious" reason is that no one with the skills to make a Windows
> printer driver out of QTR has done so. I don't have that skill set, so I
> just made an application to help me use QTR. But usually when I do this I
> make it so the application is useable by others.
> 
> -----Original Message-----
> From: QuadtoneRIP@yahoogroups.com [mailto:QuadtoneRIP@yahoogroups.com] On
> Behalf Of George Butch
> Sent: Tuesday, February 02, 2010 2:29 PM
> To: QuadtoneRIP@yahoogroups.com
> Subject: Re: [QuadtoneRIP] Printing from CS4 Vista x64
> 
> It seems to me that this difference between MAC and PC versions of QTR is a
> constant source of confusion for many, including me.  I am totally ignorant
> of the MAC world and so I don't understand why this difference exists.
> 
> I gather there is some mysterious reason why the PC version must work stand
> alone while the MAC version can be accessed within PhotoShop.  And it's just
> as likely that I would not understand the reason, even if it were explained.
> It just seems to be the way it is.  It's inconvenient though, to edit an
> image in PS and then have to leave the PS environment to print it.  On the
> other hand, I love the resulting print and I'm grateful the program exists.
> 
> I'm a photographer, not a computer wizard.  My computer is just a tool. But
> I do have a suggestion.  How about if we all get in the habit of identifying
> ourselves as MAC or PC users when posting a question in the forum.  I have
> lost track of the number of times I have tried to follow an explanation only
> to discover well into it that it doesn't apply to me.
> 
> Thanks.
> 
> George...
>