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22
June 2002
BW
printing - second day
After
much thought and experimentation, I have created a new profile for my
scanner and then applied a Selective colour adjustment in Photoshop 7.
The on-screen picture now matches (as near as I can get) the print. The
adjustment has been saved and will be applied to all the mono chrome test
prints. I think this resolves the problem.
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The
original file downsampled
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Scanned
print on Archival Matte paper
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The
print was printed on Archival Matte without any adjustments, all settings
on Auto. This produces a neutral tone monochrome print. It's interesting
to note that the print on Premium Semigloss paper had a slight hint of
purple. The Archival matte paper has a very slight warmth compared to
the original on-screen picture. The picture above more or less matches
the output, although the actual print has more depth than the original
screen picture. For a first monochrome print the print is certainly as
good, if not better, than anything else I have ever printed on any printer
(including darkroom prints). I would be happy to live with this print.
However, Epson have bundled the new Gray Balancer software, so I am going
to give that a spin.
I
printed out the tortoise shell chart and then used the 4 Point Gray Adjustment
to match each of the shells. This is not as easy as it seems, some of
the tones are so slight that it becomes very difficult to find the matching
shade. However, as luck has it the default settings were more or less
spot on, the Adjustment file is then saved. Your Adjustment file is used
as a reference point for subsequent adjustments. This method of creating
adjustment files has the advantage of being able to create an adjustment
in the same lighting conditions in which the print is going to be displayed.
This partially solves the metamerism problem (this is not as pronounced
as with the 2000P). The next stage is to try out a couple of the pre-sets
and then create my own sepia tone using the curves editor. The manual
is very detailed and needs to be studied carefully. Below are my first
prints using the Balancer software.
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Cool
Grey
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Warm
Grey
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Yellow
Grey
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Sepia
via curves
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The
permutations for creating custom hues are endless. It's perhaps not the
most intuitive application to use, but as you can see from my first samples
you can get superb results without having to purchase special ink sets
just for monochrome work. The Gray Balancer software will apply the adjustments
to every print you create, regardless of which application you are working
in (as long as the Epson printer drivers are being used). To turn the
adjustments off, you must launch the Gray Balancer application and select
"No Adjustment". I can foresee many photographers forgetting
to turn the adjustments off and start to print their colour work with
a Sepia tone or other. It wouldn't take much to put a flashing notice
on the print dialogue panel to indicate that the Gray Balancer adjustments
are being applied to the print.
Some
of you may be wondering, why bother using this software when you can create
duotones in Photoshop? When you make any adjustment in your imaging application
you alter the data in the image. The Gray Balancer only applies the adjustments
to the printer driver, the picture's data is left unaltered. You can create
and save as many adjustments as you require - this will be useful for
the professional photographer showing a client reference prints with a
variety of colours. The final print match will be perfect.
Papers
I
know that with previous Epson printers people complained about the pizza
wheel marks on the prints. I am happy to report that I can't find any,
nor does the printer leave surface scratches. I have been using two types
of paper in the review; Archival Matte and Premium Semigloss Photo Paper.
Quite a few people in the Forum have been asking about Premium Glossy
Photo Paper (PGPP). Epson UK states that this is a paper that has been
made for dye based printers and go on to say it is not compatible, yet
Epson US lists this as a compatible paper type - conflicting information
here.
I
have a pack of PGPP paper and have just printed our picture of Sophie
as a test. The print looks fine to me. As soon as it left the printer
I rubbed the surface with my finger - the ink stayed in place and there
was no smudging. If I hold the print at an angle to a light source and
look at the reflections the high gloss does dull down very slightly where
the ink has been applied, but it still has a gloss look to it. When compared
to the same picture printed with a dye based printer, it shows why Epson
UK doesn't recommend the paper. As the PGPP is not in the drop down list,
I used the Glossy Paper Photo Weight setting. This means that PGPP has
not been profiled for use on the 2100. However, the colour produced is
as good as with Premium Semigloss paper.
www.photo.i.co.uk
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