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IV Calibration - Calibration Management Drange

There are several methods to manage and adjust the contrast to the density difference of the negative than the process. It's going to take some time but it is preferable that I present them all since they are all pretty close but adapts to different processes alt.

The basic principle of the creation of curves or other tools that provides a perfect negative for a process always follows the same procedure:

1. Printing a grayscale color (see next post for staining or PS Gimp)
2. Tuck gray scale, setting the minimum time pre-defined
   
3. Reading data and creation of a curved or other changes in the value

In all cases the basic operations for analysis are:

• Scanner grayscale
• Skip grayscale (if not already)
  
• Upgrade by adjusting the range 0 to 100
• then passes to the Reading

first scenario: the draw has a full gray scale from 0 to 100

In this case it is often necessary to verify the distribution the gray scale (dynamic), if the 50% and although a medium gray. You can multiply the checkpoints to best adapt to the negative process. Fig 1

To adjust the level of middle gray will be either:

1. Make a curve which starts from 0 and goes up to 100% and we will change the value of 50% by value which corresponds to 50% on the draw. In the case of fig.1: The value equivalent to medium gray and 40%. It then modifies the curve in bringing the point 50% to 40% as can be seen in fig.2. Thus our density will be 50% correct on the next draft of the grayscale image and will regain its momentum. Fig.2
2. can also use levels. The simplest and open a file of gray scale and then left the 0-0 and 255 to 255 and then varies the position of the pointer to the central value of 50% correspond to 40%, which corresponds to a gamma of 1.37 (Fig.3). It is of course possible to record all correspondence between Gamma value and change the value of 50% (medium gray). You will find in the appendices of this ebook.
   

Fig.3

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III - The color calibration

It is time to start making the pitch that will allow us finally to a draw. Several methods exist and will be presented.

From that time the following parameters are defined.

1. The printer model is used, I recommend photographic models which give the best image quality.
2. We will use a transparent Quality brands following Pictorico, Agfa, or Folex Tecco
3. The paper chooses to print settings of the printer
4. The method and the paper you intend to use.

staining
As described in the preceding paragraph describes the color range of Mr Michael Koch-Schulte time that allows us to obtain a maximum black. we get a contact that shows us the safelight inks depending on the dosage.

fig1. exposure range agfa Copyjet / Epson 7800 (Semiglossy) - platinum print on paper 320 Cot Expo 4min mixture (3 4fo Pd Pt 1 K1 1%)

To select the tone is limited to the intermediate zone between the area actinic No Fig. 2-A and areas actinic B. It can be used a coloring area B, but it amounts to is using RPLUSER ink than necessary and risk being confroter to loss of definition and / or longer drying time

fig2. exposure range agfa Copyjet / Epson 1290 (Glossy) - platinum print on paper 320 Cot 2min Expo New cyanotype (Ware)

For example agfa Copyjet / Epson 7800 / Platinum Palladium on TOC I opted for staining Next 130/100/60 TSL (TSL: hue / saturation / brightness).

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II - inking and coloring

Parameter selection

printers must now define the choice of parameters compared to printers and transparent process. The following method is applicable to all models of printers. For large format printers, it is easier to control the amount of ink deposited and allows other approaches.

To choose the print media, we will first seek all support what we feel offers the highest resolution of the printer. Then we'll print a color range of Mr Michael Koch-Schulte with these parameters.

When printing care should be taken not to change the size of the file and apply a mirror effect.

After each print must take time to observe the drying time. It will not be the same throughout the range but note the drying time is longer. In the method we follow we will use the settings that offer the drying time faster. The choice

The tone color schemes finally dry, it contacts a sheet of sensitized paper to choose tone safelight to UV. It sets the time set earlier by the minimum exposure test.

After exposure, processing and drying of the draw you must select the totally white areas and among those above (if any) to take a tone close to a light gray and not completely surrounded by white points. This choice we avoid having a curve too compressed.

methodology with a model offering a management inking

With large-format plotter models can take any configuration printer that offers the highest print quality. After choosing the Tone is a practical test similar to the practice for printers without ink control. To do this we open a file of gray scale on which we apply the selected tone and it prints all without playing first on the% of inking and printing out completely if you add dry ink, and if Print it out damp down the inking. The goal is to get an impression that only the 100% comes out slightly moist.