Digital BW, The Print

Sorry, I don't know what else to call it. I have been printing 
strong rich sepias on the 9600 with UC's for about a year now and am 
still in business. A year spent getting everything to look the same 
as the old film/resin coated output.

This is relative ONLY to skin tone printing.

I gave up printing sepia when I dry wretched after the first look at 
a gloss UC (Pre Atkinson). Since then I have printed only with matt 
black onto matt papers such as Photorag and Torchan. William Turner 
is wonderful but like my ex wife - flaky!

I still reckon sepia is the hardest thing to manage... uses a lot of 
metermarism prone yellow. The colour changes throughout the day, 
stops you getting bored, multigrade sepia maybe. I really go by the 
numbers. Skin tones can NOT go over 215 in PS where as with colour 
you can go much higher.

I use the Atkinson profile for enhanced matt onto Photorag and I'm 
not sure how to make it better.

Here's the thing. What happens when you have a rich sepia shadow - 
lots of magenta and yellow, a strong sepia mid tone - a little less 
magenta yellow, a sepia hi-lite - hardly any ink to cover the white 
paper and OB's. The hi-lites look positively blue compared to the 
relatively linear sepia mids and shadows.

How to make the hi -lites yellower? Get Image Print and pay my Aus$5 
G's and get a pretty weak sepia. I need a man's sepia, a good strong 
spill tea on your linen shirt kinda sepia.

Maybe if I select all the hi-lites and add saturation. tried it, too 
fiddly.

Find a non flaky no Optical Brightener paper similar too Photrag 
with a warmer hi-lite. Yes please. Concord rag looks fantastic. Too 
thin and why cost so much?

How would a custom profile handle this? I guess it has to be 
progressively more saturated as the inks thin out in the lighter 
tones.

Any theories anyone?

Have a sqiz at the web site to get an idea of te strength of sepia.

Garry Sarre
www.sarre.com.au

Well, Garry, I don't know about you ex-wife but your writting style is more interesting than most.
 
I've tried some sepia tones on the 9600 with the Atkinson profiles as you describe.  Same results.  I finally gave up in favor of Imageprint.  But, if sepia were the thing I had to have, and a man's sepia at that, I would find a good profile maker to work with to develop a profile for you tastes.  I believe that it would be difficult in Photoshop to develop an adjustment technique that would give you absolutely consistant/predictable results.  It might be possible in the hands of a really good PS user.  Keep us posted, this is probably useful to quite a few people.
 
P.S.  Sound like the ex-wife was a better deal than the 9600:  you've still got the 9600 problems.
 
Tom Baker


Garry Sarre <garry@...> wrote:
Sorry, I don't know what else to call it. I have been printing 
strong rich sepias on the 9600 with UC's for about a year now and am 
still in business. A year spent getting everything to look the same 
as the old film/resin coated output.

This is relative ONLY to skin tone printing.

I gave up printing sepia when I dry wretched after the first look at 
a gloss UC (Pre Atkinson). Since then I have printed only with matt 
black onto matt papers such as Photorag and Torchan. William Turner 
is wonderful but like my ex wife - flaky!

I still reckon sepia is the hardest thing to manage... uses a lot of 
metermarism prone yellow. The colour changes throughout the day, 
stops you getting bored, multigrade sepia maybe. I really go by the 
numbers. Skin tones can NOT go over 215 in PS where as with colour 
you can go much higher.

I use the Atkinson profile for enhanced matt onto Photorag and I'm 
not sure how to make it better.

Here's the thing. What happens when you have a rich sepia shadow - 
lots of magenta and yellow, a strong sepia mid tone - a little less 
magenta yellow, a sepia hi-lite - hardly any ink to cover the white 
paper and OB's. The hi-lites look positively blue compared to the 
relatively linear sepia mids and shadows.

How to make the hi -lites yellower? Get Image Print and pay my Aus$5 
G's and get a pretty weak sepia. I need a man's sepia, a good strong 
spill tea on your linen shirt kinda sepia.

Maybe if I select all the hi-lites and add saturation. tried it, too 
fiddly.

Find a non flaky no Optical Brightener paper similar too Photrag 
with a warmer hi-lite. Yes please. Concord rag looks fantastic. Too 
thin and why cost so much?

How would a custom profile handle this? I guess it has to be 
progressively more saturated as the inks thin out in the lighter 
tones.

Any theories anyone?

Have a sqiz at the web site to get an idea of te strength of sepia.

Garry Sarre
www.sarre.com.au 



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

QuadToneRIP is capable of rich sepia with no metermerism. The 9600 profiles are 
"almost there". The 2200 profiles are spot on.

mjs

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Garry Sarre" <garry@s...> 
wrote:

> Sorry, I don't know what else to call it. I have been printing 
> strong rich sepias on the 9600 with UC's for about a year now and am 
> still in business. A year spent getting everything to look the same 
> as the old film/resin coated output.
> 
> This is relative ONLY to skin tone printing.
> 
> I gave up printing sepia when I dry wretched after the first look at 
> a gloss UC (Pre Atkinson). Since then I have printed only with matt 
> black onto matt papers such as Photorag and Torchan. William Turner 
> is wonderful but like my ex wife - flaky!
> 
> I still reckon sepia is the hardest thing to manage... uses a lot of 
> metermarism prone yellow. The colour changes throughout the day, 
> stops you getting bored, multigrade sepia maybe. I really go by the 
> numbers. Skin tones can NOT go over 215 in PS where as with colour 
> you can go much higher.
> 
> I use the Atkinson profile for enhanced matt onto Photorag and I'm 
> not sure how to make it better.
> 
> Here's the thing. What happens when you have a rich sepia shadow - 
> lots of magenta and yellow, a strong sepia mid tone - a little less 
> magenta yellow, a sepia hi-lite - hardly any ink to cover the white 
> paper and OB's. The hi-lites look positively blue compared to the 
> relatively linear sepia mids and shadows.
> 
> How to make the hi -lites yellower? Get Image Print and pay my Aus$5 
> G's and get a pretty weak sepia. I need a man's sepia, a good strong 
> spill tea on your linen shirt kinda sepia.
> 
> Maybe if I select all the hi-lites and add saturation. tried it, too 
> fiddly.
> 
> Find a non flaky no Optical Brightener paper similar too Photrag 
> with a warmer hi-lite. Yes please. Concord rag looks fantastic. Too 
> thin and why cost so much?
> 
> How would a custom profile handle this? I guess it has to be 
> progressively more saturated as the inks thin out in the lighter 
> tones.
> 
> Any theories anyone?
> 
> Have a sqiz at the web site to get an idea of te strength of sepia.
> 
> Garry Sarre
> www.sarre.com.au