Digital BW, The Print

Chris, 

This tutorial is an excellent introduction to a couple of the most 
popular methods used to convert an image to black and white.  

http://www.cambridgeincolour.com/tutorials/color-black-white.htm

Any of these methods can be made more flexible by adding 
additional 'conversion' layers (channel mixer, hue layer) and using 
layer masks to allow only portions of each conversion layer to show 
through.  Different methods can also be combined.  I am currently 
writing an article/tutorial describing ways to improve flexibility 
in some of the methods mentioned in the link (I'll post it here when 
I'm done).  Email me offline if you want the first draft or have any 
questions, I'm happy to help.    

In my workflow I choose to convert to grayscale mode just before 
printing because I like to work on the image as a black and white 
RGB image so I can make adjustments to the conversion as well as 
other tonal adjustments.  Plus, if you're going to add a toning 
layer (maybe for the K3 with color toning) later you'll need to 
convert back to RGB to do so.  

Anyway, I know this was slightly off the printing topic but it's an 
important part of getting good results in print form!

Brian
http://www.brianchapmanphotography.com


--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "chriskjezp" 
<chriskresser@...> wrote:
>
> Clayton & Paul,
> 
> Thank you so much for your thorough replies.  I'm really much 
closer to understanding 
> how this works, thanks to your generous help.
> 
> It sounds like starting with an r220 and a variable tone MIS ink 
set, along with Paul's ICC 
> profiles and toning curves, is a good way to get my feet wet and 
learn the ropes.  And it 
> sounds like this method can produce very good prints.
> 
> Quick question: I'm assuming I can also use these ICC profiles to 
do a soft-proof of the 
> print in Photoshop.  Is this correct?
> 
> I guess I'll continue to use my Canon MP800 for heavily 
toned/colorized B&W prints until I 
> can afford a 2400.  At that point I'll have more flexible option, 
where I can use RGB/color 
> workflow when printing colorized B&Ws and the ABW/greyscale (or 
QTR RIP) mode when 
> I'm printing "classic" and warm/cool toned B&Ws.
> 
> Thanks again,
> Chris
> 
> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Clayton 
Jones" <cj@> wrote:
> >
> > Hello Chris,
> > 
> > >I've read over most of your webiste Paul, and also all of the 
> > >articles on Clayton's website. 
> > >I'm not at all sure at what point in the B&W conversion process 
> > >(from my color RAW file) I should convert from RGB to 
greyscale.  
> > 
> > 
> > I just recently revised article #9 (the 2400 workflow) 
> > 
> >    http://www.cjcom.net/articles/digiprn9.htm
> > 
> > and added more detail to the section on converting to BW.  
Basically
> > the first thing is to apply whatever methods you want to remove 
the
> > color while in RGB, and then change to grayscale mode.  At this 
point
> > the image is ready for any levels, curves and other typical work 
as a
> > BW image.
> > 
> > 
> > >Another question that may help me decide on a printer: with the 
K3 
> > >printers (2400 in particular) is it recommended to also use a 
> > >greyscale workflow for B&W prints, or is it possible to get 
good 
> > >prints using an RGB workflow and applying any toning in RGB 
color 
> > >space...
> > 
> > I think it's possible to get good prints that way, but they of 
course
> > will have a different look and feel.  The ABW mode uses 
primarily the
> > three blacks with colors added only as toners, so the tones are
> > limited to a warm/cool range.  If you wanted, for example, a gold
> > colored tone, or any other hue outside of the grayscale warm/cool
> > range, then the RGB/color controls approach would be required.  
When
> > making BW prints with ABW there is no advantage to keeping the 
image
> > in RGB.  All you have is images that are three times as large.  
When
> > you switch to grayscale the image becomes 1/3 it's former size.
> > 
> > 
> > >How about the 2200 in this regard (though it uses the UC inks 
> > >rather than K3 and is thus not as "archival")?
> > 
> > Yes, exactly.  The K3 is much better in that regard.   The K3 
printers
> > are a big step forward in technology over the 2200 (and 1280, 
220 and
> > the rest) for several reasons: better longevity, less bronzing 
and
> > gloss differential on glossy papers, three blacks for much 
better BW
> > prints, and the driver has essentially what is a built in semi-
RIP
> > with it's ABW system.  ABW uses primarily the three blacks, 
adding
> > color inks as toners to create the warm/cool tone you specify 
with the
> > controls.  Using a 3rd party RIP with the 2400 (such as QTR) 
gives
> > even greater control over the inks (for example, eliminating the
> > Yellow from the toning mix).
> > 
> > 
> > Regards,
> > Clayton
> > 
> > 
> > Info on black and white digital printing at    
> > http://www.cjcom.net/digiprnarts.htm
> >
>