Lenswork tonality on Epson 2400

[Brad_]

>>> Again, there are NO stochastic presses.

 

I need to back up a bit there... Print on demand presses, like the HP Indigo digital press used

for inexpensive one-off Apple, MyPublisher, and Blurb books using liquid toner take a direct

digital input. And I suspect their screening method is stochastically-based.

[Brad_]

>>> It's really not possible to proof a stochastic screen on a computer monitor or print a

duotone that matches it on an inkjet printer.

 

Why would one want to do that? No one I know. You're looking a bit silly...

[Brad_]

>>> I'm happy to learn, oh great master of all technical subjects.

 

Again, why all the attitude?

[godfrey]

Perhaps you missed the question, Brad, being obsessed with trying to prove that I am

incorrect for some unknown reason. You engage in this nonsense all the time.

<br><br>

The OP's question was: <i>"... Using Advanced B&W on the Epson 2400, has anyone

figured out the right settings to emulate that warm tone." ... </i> which is what I was

responding to. While you might get close to the color with a bit of experimentation, using

either the ABW in the R2400 print driver or Duotone color mode in Photoshop, but you

cannot emulate it exactly because the stochastic-screen printing process that Lenswork

uses is not possible to duplicate on an inkjet printer.

<br><br>

I have other business to attend to now so if you want to make another snide insinuation,

I'll have to reply at some later time. If it's worth my time in the entertainment, of course.

<br><br>

Godfrey

[squareframe]

I must be dense. Lenswork uses a duotone printing process, so why not print using a duotone process out of Photoshop on the Epson 2400.

 

seems like a perfectly reasonable supposition to me.

 

daniel taylor

[emre]

The EPSON 2400 does not use a duotone process...

[patricklavoie]

a real duotone is 2 color only.

 

the epson use all 8 at the same time (7-6-5-4-3 to protect myself from futur finger pointing)

 

you can indeed produce a duotone in PS, and print the color representation using all the ink; its not a real duotone, but you get a similar (similar mean look alike but not the exact same) look.

[Brad_]

>>> Lenswork uses a duotone printing process, so why not print using a duotone process out of

Photoshop on the Epson 2400.

 

It works great, Daniel. If your screen is calibrated you'll get what you see on your display.

 

Stochastic screening employed in Lenswork is neither here nor there with respect to getting good

output on your desktop printer. Some would be interested to know that Epson printers employ a

stochastic screening process to sample continuos tone input pixels into noise-like randomly

distributed extremely fine spots of CMYK inks from the cartridges.

 

The bigger issue is selecting the proper second color; and the corresponding curves for both it and

the black components.

[Brad_]

Patrick has nailed it!

[Brad_]

>>> you can indeed produce a duotone in PS, and print the color representation using all

the ink

 

And that gets back to why you don't want to use ABW. It will convert your emulated second

duotone ink to some level of gray...

[squareframe]

Brad, all I print are duotones. I was exercising my sardonic wit!

 

I don't think Patrick nailed anything. a stochastic screen is not really that different from a stochastic ink-spray pattern used on the printers. and this notion that you can only have 2 colours to be a true duotone might be true, but let's not forget how we get those two colours. mix inks at the press (or ink-factory), or mix dyes at the print-head.

 

you could claim a difference, though it is stretching it, if you did a two pass Epson print of the two colours. that is silly however, in that we are not constrained in the same fashion as a press.

 

I don't want to derail the thread, but I think Patrick is confused.

 

dt

[Brad_]

Four or five years ago I took a publishing workshop where one of the teachers was David

Gardner. He printed a lot of Ansel Adams' books. The second duotone ink used in his

publications was a proprietary color, and as I remember it he named it Ansel Gray (or maybe

it was Gardner Gray). Even the black ink was special...

[Brad_]

>>>> mix inks at the press (or ink-factory), or mix dyes at the print-head.

 

True, but real press inks can be truly mixed into one color. Stochastic spots off an inkjet are

discreet. It does get a bit silly to examine it under such a high power loupe though...

[Brad_]

Dan, still in the San Juans???

[patricklavoie]

Daniel, why do you think im confused?

 

you can produce and duotone in PS.

 

you can print a look alike version of it. (thats for me is way OK)

 

you cant print a real duotone on a inkjet because more than 2 ink are involved.

 

i dont feel confuse?

 

whats confuse me is after more than 30 answers, only few have give some answer relative to the OP. The other, including myself, still debate what is or not a duotone, a press, a stocastic screen etc....

[godfrey]

Patrick,

 

The thread has been pushed along to point of inanity, I agree.

 

I print some works in a warm-tone color on the R2400 similar to Lenswork's print output,

but I would not call it anything like the same or an emulation. I use a managed color

printing workflow to do it, not ABW. I set the tones by eye with a calibrated screen and a

printer profile. Sometimes I use Photoshop ... a mode switch to Duotone and then switch

back to RGB, save (because I print from Lightroom), sometimes I tone using Lightroom's

Split Toning controls after rendering to B&W with no Photoshop involvement at all.

 

The comment I made remains perfectly valid: it's hard to get an exact match to Lenswork's

image character on an R2400 because you are not printing with same media or process.

 

Godfrey

[manuel_toledo]

Robert,

 

Recently I was reading about how to do this in the yahoo/DigitalBlackandWhiteThePrint group (a great source of info, by the way). Someone proposed the following settings for the R2400/ABW

 

"H+40, V+40, -20 for the shadow tonality slider, and the highlight slider at +10"

 

I don't have the link, but you can do a search on "lenswork duotone" and I think you will find the thread.

 

This settings should depend on paper and ink. I tried them in PremierArt Matte and on Condor Natural. The results were ok but not the same than the magazine. They may be useful as a starting point if you go ahead and do some experimenting.

 

Best wishes,

 

Manuel

http://www.thefinephoto.com