Ender100@aol.com
Date: 08/28/03-10:00:50 PM Z
I am trying to understand how quadtones could improve on the negative over
just using the black ink? They would be printed at the same resolution, etc.,
so your dots are going to be the same size. Unless my information is
incorrect, quadtones don't print the ink overlapped except for a transitional band,
so you won't get that much help with the smoothing effect that color inks are
supposed to give. The printer driver is only going to give you 256 tones at 8
bits, so you can't get more tones—such as the holy grail 16 bit output
device.
There was a time when printing with black ink only locked you out of the
higher resolutions the printer driver/printer was capable of. Now that is no
longer true with newer printers. The only thing that locks you from higher
printer resolutions like 1440 or 2880 is the wrong media choice.
You can profile a printer like the 2200 and get a better gradient and a more
neutral one, as I said above, just print with the black ink.
So, maybe I am missing the obvious—but that would be nothing new. Sam and
Sandy explain the obvious to me quite frequently.
Mark Nelson
In a message dated 8/28/03 10:40:23 PM, larry.roohr@comcast.net writes:
> I'm very curious about your experience with the Lyson inks. It's
> something I've intended to try but havn't had the time. I've long held
> the belief that quadtone gray inks would do the best job for inkjet
> negatives. You would not have colors shifting from dark to light as
> happens on unprofiled pictorico OHP when using all the color inks, and
> you would be using all the inkjet nozzles to make your image unlike with
> the single color solutions. But this is all conjecture on my part, and
> I've seen some great images using all the above methods.
>
>
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