Digital BW, The Print

Hi John/Brian

Thanks for this info. I have been using Piezography Quad Tone inks 
on an old 1290 for some time with good results, and have just 
invested in 4000 for larger prints. I can't really afford to go down 
the Piezo route with another 4000, so I'm interested in B/W options 
with the Ultrachrome inkset. I've played around with QTR and have a 
couple of questions

1) What Paper choice are you using - does it make any difference? 
I'll be using HahnPhotorag or Somerset Velvet

2) I guess I have to experiment with the ink and gamma sliders - 
(I'm using the 21step grayscale target from the Piezography forum to 
experiment) - but do you have any advice?

Cheers

Richard



--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "bmg5" 
<bmg5@y...> wrote:
> 
> Hey John,
> 
> I am using a 9600 and QTR for the last couple of days.  Amazing 
> results. Question for you as we are using presumably similar 
setups.  
> Are you able to soft proof in PS?  Do you find that the prints 
that 
> you make at 1440 are dark in relation to your screen (about 2 
> stops)?  I profile with Monaco so I am pretty close on the 
monitor.  
> Just wondered if you had any words of wisdom with the QTR / 9600 
> combination
> 
> On your question below I love 80%CS/20 N for cool tones but there 
are 
> a world of possibilities;-)  QTR is an awesome solution to a tough 
> problem!!!
> 
> In terms of ink I assume some Cyan is used as well to cool the 
tones 
> but I am just speculating.  
> 
> Best regards
> Brian
> 
> 
> 
> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, "john dean" 
> <deanwork2003@y...> wrote:
> > 
> > I just wanted to thank Roy Harrington once again publicly for 
all 
> he had done for this 
> > global digital monochrome community. He deservs the engineer of 
the 
> decade award for 
> > QTR, and the way he had made it available to us so unselfishly. 
I 
> thought is was cool with 
> > straight quad inksets but with Ultrachrome, I'm amazed.
> > 
> > I set up my new 9600 yesterday and today I did 15 variations of 
> monochrome toning of 
> > one  portrait image on H. Photo Rag. These curves are so easy to 
> use and this interface so 
> > amazingly clear and user friendly I don't know what to say. It 
took 
> me six months to TRY 
> > to do with the Lyson Small Gamut tonable quad inkset what I did 
in 
> one hour with 
> > UltraChrome and QTR. And the Lyson tonable system never was 
> satisfactory in regard to 
> > metamerism or color purity.
> > 
> > Everyone of these variations I did this first day with QTR are 
> worthy of putting in a gallery. 
> > None of them are THE one, they all have their own qualities and 
> none by the way have any 
> > noticeable metamerism and with my drum scan I have very nice 
blacks 
> and subtle high 
> > values. And I've just started.
> > 
> > So far if I have a favourites from one days work the hue curve 
> selections that I like ( today)
> > are -  W 50%/ C 50% for a warm neutral, CS 70% / C 30% for cool 
> neutral, and W/W 100% 
> > for a carbon sepia hue. But there plenty of other combinations 
that 
> I like as well, such as 
> > the 100% CSel curves he already worked out. I know this took a 
lot 
> of work from this team 
> > and I just feel so much hope with my vocation when I see someone 
> doing things right that 
> > can make me think more creatively without having to fight the 
> technology.
> > 
> > Does anyone have any personal choices for curve percentages/ 
paper 
> combinations with 
> > QTR and Ultrachrome? I'm curious what others are doing with this 
> set up. Finally, how 
> > much of this ink is coming out of the color channels? This I am 
not 
> clear about. I mean 
> > there is no metamerism and I find it hard to belive that I'm 
> getting this subtle of tonal 
> > rendition out of just 2 black channels?
> > 
> > Thanks again,
> > 
> > John