QTR-Quadtone RIP

I'll probably get into trouble with this one but I think it's visual perception.. Luster paper has a micro surface that skews the reflectance... and mat papers have less reflectance then say a high gloss paper..Often times I look at a print and wish the blacks were better....  Put a piece of glass on it and it pops.. I would suggest still going for the dmax.. and not settling for a lower one as it "appears" to be the same.. Try viewing the 60% and 100% blacks under glass at the same time .. it should be visual then I would think.

jimbo

  ----- Original Message ----- 
  From: Terry 
  To: QuadtoneRIP@yahoogroups.com 
  Sent: Sunday, January 23, 2011 12:49 PM
  Subject: [QuadtoneRIP] Re: Maximum Usable Black vs. Dmax - What's the Big Deal?


    
  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?
  >



  

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

its also about the amount of light falling on the print. I was amazed once
to look at a lustre photo in the sun, that I thought had little detail in
the distance and suddenly I could see all this detail in the shadows that
was just not visible under normal internal light levels. if you look at 60 -
100% in full sunlight you'll see a difference.

Mike

On 23 January 2011 21:24, mrjimbo <mrjimbo@...> wrote:

>
>
> I'll probably get into trouble with this one but I think it's visual
> perception.. Luster paper has a micro surface that skews the reflectance...
> and mat papers have less reflectance then say a high gloss paper..Often
> times I look at a print and wish the blacks were better.... Put a piece of
> glass on it and it pops.. I would suggest still going for the dmax.. and not
> settling for a lower one as it "appears" to be the same.. Try viewing the
> 60% and 100% blacks under glass at the same time .. it should be visual then
> I would think.
>
> jimbo
> ----- Original Message -----
> From: Terry
> To: QuadtoneRIP@yahoogroups.com <QuadtoneRIP%40yahoogroups.com>
> Sent: Sunday, January 23, 2011 12:49 PM
> Subject: [QuadtoneRIP] Re: Maximum Usable Black vs. Dmax - What's the Big
> Deal?
>
> Does anyone have a comment on this observation I've had in working with
> QTR?
> Thanks.
>
> --- In QuadtoneRIP@yahoogroups.com <QuadtoneRIP%40yahoogroups.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?
> >
>
> [Non-text portions of this message have been removed]
>
>  
>


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

Op 23-1-2011 22:29, Michael King schreef:
> its also about the amount of light falling on the print. I was amazed once
> to look at a lustre photo in the sun, that I thought had little detail in
> the distance and suddenly I could see all this detail in the shadows that
> was just not visible under normal internal light levels. if you look at 60 -
> 100% in full sunlight you'll see a difference.
>
> Mike

Right, that often is the case. On the other hand the print viewed in our 
hands and then put in a frame behind glass never gets the lighting we 
judged it with.

That said I would take the patch that gives the highest spectrometer 
density with no dotgain (it often isn't the 100% patch) and partitionate 
the rest of inks accordingly, preferably even out maximum ink amount 
over the grey inks. Linearise and after that you can still make the 
print lighter to match the display conditions.


-- 
Met vriendelijke groeten,   Ernst

Try: http://tech.groups.yahoo.com/group/Wide_Inkjet_Printers/

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