Calzone
Gear Whore #1
Kirk,
I am using Neutral-CANbarytaPTO. Like you speculated I am not fully calibrated and are just in the ball park. I have never printed a target and do fine using everything "canned."
Know that I only print glossy, and there is a big jump in contrast from K7 to PP. Like I said I handle contrast differently between the two inksets. This is why I was surprised when you mentioned different results when comparing OEM and PP (not a big jump in contrast).
So it seems the contrast, the blacker black, and mucho shadow detail becomes very evident in PP glossy printing, and not so in matte printing. Is this correct?
With the split toning there really is no way to soft proof, so I use hard proofing and experience to optimize the final print.
BTW it does seem like PP is optimized for Canson Baryta. This is an inherently warm paper so I tend to peg the highlights with 97 selenium; moderate a bit the selenium in the mids for a long transition; and further dial down the selenium and bring only a bit of warmth in the shadows to make the shadows stand out against the true blacks. I just keep the warmth at 3 in the highlights to keep the nozzle wet.
In comparing PP to K7 it seems K7 favors the mids and this is where K7 has the longest tonal range and presents the most detail. PP on the other hand has the most detail in the shadows and blacks. I totally see needing both inksets for the above different reasons. The K-7 does well with landscape and the vast midrange is like large format big time, especially on huge prints (20x30 Monochrom image capture).
Anyways I use fully dried prints as my proofs, and this is how I bypassed calibrating my system.
Cal
I am using Neutral-CANbarytaPTO. Like you speculated I am not fully calibrated and are just in the ball park. I have never printed a target and do fine using everything "canned."
Know that I only print glossy, and there is a big jump in contrast from K7 to PP. Like I said I handle contrast differently between the two inksets. This is why I was surprised when you mentioned different results when comparing OEM and PP (not a big jump in contrast).
So it seems the contrast, the blacker black, and mucho shadow detail becomes very evident in PP glossy printing, and not so in matte printing. Is this correct?
With the split toning there really is no way to soft proof, so I use hard proofing and experience to optimize the final print.
BTW it does seem like PP is optimized for Canson Baryta. This is an inherently warm paper so I tend to peg the highlights with 97 selenium; moderate a bit the selenium in the mids for a long transition; and further dial down the selenium and bring only a bit of warmth in the shadows to make the shadows stand out against the true blacks. I just keep the warmth at 3 in the highlights to keep the nozzle wet.
In comparing PP to K7 it seems K7 favors the mids and this is where K7 has the longest tonal range and presents the most detail. PP on the other hand has the most detail in the shadows and blacks. I totally see needing both inksets for the above different reasons. The K-7 does well with landscape and the vast midrange is like large format big time, especially on huge prints (20x30 Monochrom image capture).
Anyways I use fully dried prints as my proofs, and this is how I bypassed calibrating my system.
Cal
walkerblackwell
Newbie
When printing Pro you use Print Tool and NO profile (no color management) and a GrayGamma 2.2 image. Then soft-proof using any of the available piezography k7 profiles making sure to turn "Preserver numbers" on.
We are working on making some pro soft-proof profiles of the most popular toning options.
Full soft proof documentation is in the manual that comes with Piezography Community Edition as well as here: https://piezography.com/2013/05/17/piezography-soft-proofing/
regards,
Walker
walkerblackwell
Newbie
Making batch #8 for this Black Friday.
Cheers all,
Walker
Cheers all,
Walker