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3880 vs 4000?

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Guest malland

Guest malland

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Another long shot would that you're using PK profiles for MK inks, or vice versa, or using matte paper with PK profiles or glossy paper with MK profiles — just trying to think of all the possibilities because this has never happened to me in some ten years of using IP.

 

—Mitch/Bangkok

Tokyo: It is love by people and special thanks for you

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Guest WPalank

Guest WPalank

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I used PS with the Ilford profiles and the colors are pretty good -- not like I'm expecting from IP, but not yellow.

 

It's just something not set up properly. Back to Color Byte by phone, t'mow.

 

Thanks for the good thots.

 

Bill,

Keep us posted. My V8 and Epson 7900 just worked perfectly out of the box.

 

I took a workshop with Stephen Johnson once who has the IP RIP on his machines and had a problem when I saved out my TIFFs from Photoshop in anything other than Compression: None.

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wparsonsgisnet

wparsonsgisnet

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Following a suggestion by Mitch Alland about setting the black point, I called the Color Byte folks and gotan answer I have been looking for for a long time. (I was trying to get info about the black points, but it turns out the black and white point on the color management screen only apply to a b/w image setting.)

 

I have been very happy with the color balance with IP. In fact, it's given me the best prints I have ever gotten -- all with NO work at all.

 

However, even tho the colors were right, my prints were always darker than the screen image. I was goosing the image brightness at print time so that the final print would be the brightness I wanted. The CB guy tells me the dark print problem occurs because the dynamic range of the print is less than that of the screen (he described it differently) and the solution is to make a print with the screen brightness turned up and then compare the print to the screen while dimming it. After finding a good match, use that dimming factor in the future to produce an expected print outcome.

 

So, once I have the dimming factor, I can dim the screen while I am tuning the image in C1 Pro (another product I *really* like).

 

I am about to try this, expecting to find the menus hard to read per his warning, and also about to make my first 17x22 print (a commission, already -- I knew there was sa reason to spend this much money....). All I have to do is wait for the 17x22 Ilford paper to arrive; Atlex says it takes a while.

 

 

Then, of course, I have to figure out what the cart life is so I can order a bunch of $45 carts. I used to stock 2 of the 2400 carts; don't think I'll be that generous to my inventory drawer.

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Guest malland

Guest malland

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Following a suggestion by Mitch Alland about setting the black point, I called the Color Byte folks and gotan answer I have been looking for for a long time. (I was trying to get info about the black points, but it turns out the black and white point on the color management screen only apply to a b/w image setting.)...
Bill, there's been a miscommunication somewhere along the line: the Black/White Controls refers to the Tint Picker, which, indeed, can only be used with grayscale images, and are under the "Tint" tab of the Color Management Window. The Black Point Slider is under the "Output" tab of the Color Management Window, and applies to color prints as well — in IP8 it's actually called "Adjust black point": see illustration on page 6-26 of the IP Users Manual.

 

I believe the default setting for the "Adjust black point" slider is 50 — moving it to, or towards 100, will increase shadow detail and reduce density. Possibly setting it at or near 100 may be sufficient so that you may not have to dim the monitor. Please let me know what you find.

 

Here is a message of several years ago that I just found on my computer from the late Bruce Fraser, co-author of Real World Photoshop:

50 is indeed the default, but I find that 100 gives a closer match to the Photoshop soft-proof using the IP profiles, on several different displays all using different calibration methods...
So you may want to try 100 without dimming the monitor.

 

Finally, if you do "printer targeting" in the way I described in post #32 above you should not need to dim your monitor at all. My feeling is that dimming the monitor is a shortcut and a less controlled way of dealing with these issues.

 

 

 

—Mitch/Pak Nam Pran

Scratching the Surface©

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Guest malland

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...I don't use PS, instead work almost completely in C1. I'll see what I can do with you earlier info,,,
Bill, I do my processing with Aperture but then export a TIFF file to which I apply light sharpening (PK sharpener usually at 25-50% opacity) and print targeting adjustments (described above) in Photoshop, from which I print with IP8. All the latter could (probably) be done in Aperture, but I haven't gotten around to trying it, partly because, then, one looses some of the layout controls of IP.

 

—Mitch/Pak Nam Pran

Wild Beasts of Botswana

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Jamie Roberts

Jamie Roberts

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{snipped}

Finally, if you do "printer targeting" in the way I described in post #32 above you should not need to dim your monitor at all. My feeling is that dimming the monitor is a shortcut and a less controlled way of dealing with these issues.

 

Mitch, while that's true, most LCD monitors in particular get set up with a luminance way too high for printing. Turning down the monitor (if you can) makes very good sense and means you don't need to mess around with layers in PS for proofing.

 

It does depend, however, on how good your monitor really is. Most laptop LCDs for example, literally can't be dimmed enough to come close to print dynamic range... and they have too much contrast. I shudder when I think that people actually try to manage colour and density on them :)

 

You should shoot for a very conservative luminance target when you calibrate--depending, of course, on your lighting context (if you have very bright surroundings you may need more brightness than less to come close to print brightness; still, being "too bright" is a problem that LCDs in particular have).

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wparsonsgisnet

wparsonsgisnet

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Um ... GIGANTIC difference. Is that what the colors are supposed to look like?!!

 

Jamie's comment definitely strikes home. The 19in screen -- with which I used to color tune is *totally* different from the MBP 15" -- even tho it was calibrated.

 

Now I just have to figure out how to calibrate the Sony screen again. It'll take some help from the Huey Boys I think.

 

No wonder I couldn't print the pic I was working on. Damn.

 

This is the first color printing I have done since getting the MBP. Big difference.

 

Regards and thanks for all the suggestions.

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wparsonsgisnet

wparsonsgisnet

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These colors are just about perfect.

 

I'm working on calibrating the brightness swaps. I make the picture just way way I want it, then dim down x percent and decide on the brightness needed. Then I goose the exposure and make the tiff to send to neat image and IP.

 

This is really fun! The 3880 is very nice, IP v8 is treating me like a king, and the prints look Great!

 

Soon as I figure out how to calibrate the secondary monitor, I"m home free.

 

I've got this little song going in the back of my mind: Eizo, eizo, .... Good thing this stuff is all so inexpensive.

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wparsonsgisnet

wparsonsgisnet

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I rather like my Eizo screen (and my 3880 too if i could make consistently good prints)

 

Bill, good to hear you are happy with your printer, will you come and live with me for a while?;)

 

Lulu, check out IP. The color is right every time. I owe my buddy Mark Saperstein for the recommendation.

 

Thanks for the invitation. What kind of wine will we be drinking?

 

Regards,

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wparsonsgisnet

wparsonsgisnet

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Talk about kicking a guy when he's down. Now that I have the 3880 and the *upgraded* version of IP V8 -- AND have hooked up my Sony 19in DVI monitor, while I'm waiting to hear back from the Huey Guys about calibrating a secondary monitor I'm looking at the 24in NEC monitors and reading white papers, as recommended by Sean Reid.

 

Letting my 2400 die turns out to have been a very expensive move.

 

But, I can't believe how impossible it is to make a good color print using the screen on the MacBook Pro 15in laptop. I was pulling my hair out. Jamie has it just right to feel sorry for people like that.

 

Getting closer to a good print. What I've got looks pretty good already.

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