Digital BW, The Print

I've recently made a mild split-tone profile that, I think, deals
effectively with the problems of a brightened paper used with a creamy mat
board.  In the past I've used non-OBA paper to deal with the issue.
However, with the selection of such papers limited, I decided to see what I
could do with a profile to match the paper and mat.  The approach seems to
work well.

 

I've made a short write-up of the efforts at
http://home1.gte.net/res09aij/PM_Split_Tone.pdf .

 

Paul

www.PaulRoark.com <http://www.paulroark.com/>  

 



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

If your B&W toning process allows, you should be able to achieve split
toning effects using Photoshop's Duotone process.

Now that I have a decent profile (thanks Cathy!) I can print neutral,
metamerism-  and "greenie-"free B&W in RGB or Grayscale modes with my
2200 and MIS Pro color inkset and find that using a Duotone (tri- or
quad-, too) I can define the tone of highlights and control the
application with the curves and ink definitions. The method is very
versatile, maybe too versatile for me, since I never developed any
darkroom preferences, I can get bogged-down with all the possibilities.

Frank

-<paul.roark@...> wrote:
> I've recently made a mild split-tone profile that, I think, deals
> effectively with the problems of a brightened paper used with a
creamy mat
> board.  In the past I've used non-OBA paper to deal with the issue.
> However, with the selection of such papers limited, I decided to see
what I
> could do with a profile to match the paper and mat.  The approach
seems to

> work well.
> 
>  
> 
> I've made a short write-up of the efforts at
> http://home1.gte.net/res09aij/PM_Split_Tone.pdf .
> 
>  
> 
> Paul
> 
> www.PaulRoark.com <http://www.paulroark.com/>  
> 
>  
> 
> 
> 
> [Non-text portions of this message have been removed]
>

Frank wrote:

> If your B&W toning process allows, you should be able to 
> achieve split toning effects using Photoshop's Duotone process.

There are probably lots of ways to do this.  The new inkset approach I'm
using now on the 7500 and 2200 requires a rip.  So, I use that profiling
method.  I've never use the PS duotone process, but I’m sure the Epson
driver with the newest machines can do a very nice job.  On the other hand,
I would like control of the carbon channel as well.

IJC allows multiple alpha channels that I've used for split toning.  I find
that workflow easier than the PS-Epson driver workflow I used in the past.  

In fact, with multiple alpha channels, I may be able to get control of the
carbon channel independently of the color, and yet have a full (if
light/more restricted shadow gamut) RGB.  It's one of the fun little
projects on the drawing board.  I'm not particularly interested in real
color, but as a adjunct to the B&W, it could be fun. 

Paul
www.PaulRoark.com 


-<paul.roark@...> wrote:
> I've recently made a mild split-tone profile that, I think, deals
> effectively with the problems of a brightened paper used with a
creamy mat
> board. In the past I've used non-OBA paper to deal with the issue.
> However, with the selection of such papers limited, I decided to see
what I
> could do with a profile to match the paper and mat. The approach
seems to

> work well.
> 
> 
> 
> I've made a short write-up of the efforts at
> http://home1.gte.net/res09aij/PM_Split_Tone.pdf .
> 
> 
> 
> Paul
> 
> www.PaulRoark.com <http://www.paulroark.com/> 
> 
> 
> 
> 
> 
> [Non-text portions of this message have been removed]
>