Re: Newbie standing over P900 with hammer
Hi all - I found a workaround in case anyone else encounters this problem.? I cut a new carrier board that is 17" wide and which fills the entire feed space for the P900.? The height is 16" but I don't think that matters.? Now the printed image is centered on the carrier and thus on the plate.? I have exactly no idea why this works, but I have two successful runs this morning.? I'm securing the plate to the carrier with a piece of double sided scotch tape.? I still have load failures but more than half take on the first try.??
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Re: Newbie standing over P900 with hammer
I don’t think this is your problem but I ran across a problem with print-tool on some versions of macOS where the various margins ina custom page size ?would be applied to the wrong edge in the print. Eg, if I made the margins L,R,B,T it might have applied it T,L,B,R (or something- I don’t recall the details). My workaround was to make all the margins the same (0.2 inches?) and move the art around manually.?
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On Oct 17, 2024, at 1:46?PM, greg brophy via groups.io <greg@...> wrote:
? I have this issue, but it is not centered horizontally. There is a settings in general printer settings to turn horizontal center. It turn it off and on before every print. This is an issue with print tool. I don’t have this issue with photoshop.? On Oct 17, 2024, at 1:15?PM, altstephenrudy@... wrote:
? Thanks Frankie and Clay.? I do have a custom media profile set up for the 12x16 that the Epson seems ok with.? I've tried other images and have the same issue.? Even if I print on the poster board without a plate sitting on top I get the same image offset.??
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Unable to see curve profiles in Print Tool
I am using an Epson SureColor P900 printer, and recently upgraded to QuadToneRIP v2.8.2 and PrintTool v2/3/4/2. Mac OS Sierra (10.12.6). When I choose Quad900 as my printer, and choose QuadToneRIP under Printer and Paper settings, I don't see a list of profiles to choose from (as I did in my prior versions). I have executed the Install program from the proper color profile folder, but the profiles do not appear. Has anyone encountered this problem? I need to use the profile for direct plate photogravure, but cannot access it.
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Re: Newbie standing over P900 with hammer
I have this issue, but it is not centered horizontally. There is a settings in general printer settings to turn horizontal center. It turn it off and on before every print. This is an issue with print tool. I don’t have this issue with photoshop.?
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On Oct 17, 2024, at 1:15?PM, altstephenrudy@... wrote:
? Thanks Frankie and Clay.? I do have a custom media profile set up for the 12x16 that the Epson seems ok with.? I've tried other images and have the same issue.? Even if I print on the poster board without a plate sitting on top I get the same image offset.??
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Re: Newbie standing over P900 with hammer
Thanks Frankie and Clay.? I do have a custom media profile set up for the 12x16 that the Epson seems ok with.? I've tried other images and have the same issue.? Even if I print on the poster board without a plate sitting on top I get the same image offset.??
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Re: Newbie standing over P900 with hammer
You are probably already doing this, but you need to make sure you have a custom media type defined and downloaded to your printer that has a 12 x 16 inch size. You have to have the same media size picked on the printer’s control panel as you have in Print Tool. Any mismatch will print misaligned. IOW, the software will not override the media size selected on the front of the printer.
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On Oct 17, 2024, at 12:12?PM, altstephenrudy via groups.io <altstephenrudy@...> wrote:
Hi folks – this is my first post.? I’m just now learning DTP photogravure and platinum palladium using digital negatives.? I’m working with (against) an Epson P900 with updated firmware via QTR with Print Tool as a front end and Piezography P900-Pro.? Quad files are from the two classes I took on these processes.? I’m in the final steps of setting up a home lab starting with DTP and heading to PtPd as soon as Bostick and Sullivan works through a chemical backorder. ? My prints to DTP are not centering, even though all the various settings seem to be ok.? I’m mounting a Tyobo KM43 plate (8 1/4" x 11 3/4") onto a 12x16 poster board.??After two days of swearing like a 19th century sailor I got that to work consistently on the P900.? Both the physical plate and the image are centered on the carrier board.? If I print a PDF from QTR I get an image that is correct (I've attached a copy of that.)? ? When printing to the plate however the image offsets, printing correctly along the 10” side but with a 2 5/8” bottom margin instead of the nearly edge to edge print I’d expect.? The image is somehow cropped at the top – there is no overprinting onto the carrier, just missing image space.? So for an 8x10 image I’m getting about 5.5x10.? ? The printer is set up as QuadP900-Pro Bonjour and is connected by USB.? QTR mode is 8 bit (the file is 16 bit tif), curve 1 is a custom quad file from a class, paper feed is front poster board, res is 1440 and speed is unidirectional.? On print tool everything is centered and sized correctly.? Management is set to Print-Tool Managed.? ? The images attached are a PDF output directly from Print Tool and a terrible iPhone photo of the plate after printing.? ? Super frustrated.? Any advice is warmly welcomed.<PDF from QTR_1.jpg>
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Re: Newbie standing over P900 with hammer
Hi Steve,
Not familiar with DTP but it doesn't seems to be a software issue for me. I suppose it is related to the printer sensor that check the paper. I don't use the P900 so other may have a more precise answer about that on this specific printer.
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I don't think the hammer will help you on this one :-D
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Newbie standing over P900 with hammer
Hi folks – this is my first post.? I’m just now learning DTP photogravure and platinum palladium using digital negatives.? I’m working with (against) an Epson P900 with updated firmware via QTR with Print Tool as a front end and Piezography P900-Pro.? Quad files are from the two classes I took on these processes.? I’m in the final steps of setting up a home lab starting with DTP and heading to PtPd as soon as Bostick and Sullivan works through a chemical backorder.
?
My prints to DTP are not centering, even though all the various settings seem to be ok.? I’m mounting a Tyobo KM43 plate (8 1/4" x 11 3/4") onto a 12x16 poster board.??After two days of swearing like a 19th century sailor I got that to work consistently on the P900.? Both the physical plate and the image are centered on the carrier board.? If I print a PDF from QTR I get an image that is correct (I've attached a copy of that.)?
?
When printing to the plate however the image offsets, printing correctly along the 10” side but with a 2 5/8” bottom margin instead of the nearly edge to edge print I’d expect.? The image is somehow cropped at the top – there is no overprinting onto the carrier, just missing image space.? So for an 8x10 image I’m getting about 5.5x10.?
?
The printer is set up as QuadP900-Pro Bonjour and is connected by USB.? QTR mode is 8 bit (the file is 16 bit tif), curve 1 is a custom quad file from a class, paper feed is front poster board, res is 1440 and speed is unidirectional.? On print tool everything is centered and sized correctly.? Management is set to Print-Tool Managed.?
?
The images attached are a PDF output directly from Print Tool and a terrible iPhone photo of the plate after printing.?
?
Super frustrated.? Any advice is warmly welcomed. 
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How does QTR behave with MacOs 15 Sequoia? And are there any other printing problems with this operating system. How about the saving and updating preset problem?
?
best regards,
?
Kees
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? ? Exposure is with 150 watt Blue light grow bulb
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On Oct 15, 2024, at 10:50?AM, Christina Z. Anderson <christinazanderson@...> wrote:
No screen shot came… ? Azo grade 2? ?
? Can you send a screenshot of what the mapped curve looks like, like you did before? And are you exposing in the sun? My guess is you need to up your yellow with the yellow slider but won’t know until I see the mapped out curve. With the help of Chris Anderson’s Ilford Classic and Warm-tone quad files I’ve have had good success in linearizing D Neg files.? Also, vintage Portriga Rapid linearized very easily.? However, beginning with the Lodima starter curve the lighter curve values for vintage AZO grade 2 simply will not linearize proportionately.
Any suggestions ??
Thanks in advance.
Steve Sherman
Real Photographs are Born Wet !
?
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On Oct 15, 2024, at 10:50?AM, Christina Z. Anderson <christinazanderson@...> wrote:
No screen shot came… ? Azo grade 2? ?
? Can you send a screenshot of what the mapped curve looks like, like you did before? And are you exposing in the sun? My guess is you need to up your yellow with the yellow slider but won’t know until I see the mapped out curve. With the help of Chris Anderson’s Ilford Classic and Warm-tone quad files I’ve have had good success in linearizing D Neg files.? Also, vintage Portriga Rapid linearized very easily.? However, beginning with the Lodima starter curve the lighter curve values for vintage AZO grade 2 simply will not linearize proportionately.
Any suggestions ??
Thanks in advance.
Steve Sherman
Real Photographs are Born Wet !
?
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On Oct 15, 2024, at 9:41?AM, Christina Z. Anderson <christinazanderson@...> wrote:
?
Can you send a screenshot of what the mapped curve looks like, like you did before? And are you exposing in the sun? My guess is you need to up your yellow with the yellow slider but won’t
know until I see the mapped out curve.
With the help of Chris Anderson’s Ilford Classic and Warm-tone quad files I’ve have had good success in linearizing D Neg files.? Also, vintage Portriga Rapid linearized very easily.?
However, beginning with the Lodima starter curve the lighter curve values for vintage AZO grade 2 simply will not linearize proportionately.
Any suggestions ??
Thanks in advance.
Steve Sherman
Real Photographs are Born Wet !
?
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On Oct 15, 2024, at 9:41?AM, Christina Z. Anderson <christinazanderson@...> wrote:
Can you send a screenshot of what the mapped curve looks like, like you did before? And are you exposing in the sun? My guess is you need to up your yellow with the yellow slider but won’t know until I see the mapped out curve. Chris ? With the help of Chris Anderson’s Ilford Classic and Warm-tone quad files I’ve have had good success in linearizing D Neg files.? Also, vintage Portriga Rapid linearized very easily.? However, beginning with the Lodima starter curve the lighter curve values for vintage AZO grade 2 simply will not linearize proportionately.
Any suggestions ??
Thanks in advance.
Steve Sherman
Real Photographs are Born Wet !
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Can you send a screenshot of what the mapped curve looks like, like you did before? And are you exposing in the sun? My guess is you need to up your yellow with the yellow slider but won’t
know until I see the mapped out curve.
Chris
?
With the help of Chris Anderson’s Ilford Classic and Warm-tone quad files I’ve have had good success in linearizing D Neg files.? Also, vintage Portriga Rapid linearized very easily.?
However, beginning with the Lodima starter curve the lighter curve values for vintage AZO grade 2 simply will not linearize proportionately.
Any suggestions ??
Thanks in advance.
Steve Sherman
Real Photographs are Born Wet !
|
With the help of Chris Anderson’s Ilford Classic and Warm-tone quad files I’ve have had good success in linearizing D Neg files. Also, vintage Portriga Rapid linearized very easily. However, beginning with the Lodima starter curve the lighter curve values for vintage AZO grade 2 simply will not linearize proportionately.
Any suggestions ??
Thanks in advance.
Steve Sherman
Real Photographs are Born Wet !
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Too late for me... I had no idea I'd lose functionality of Quad Tone RIP for Piezography fine-art B&W printing using my 2012 iMac earlier this year. I plan to get it down-graded to Mojave ASAP (without losing everything on its hard-drive, I hope) and never upgrade the OS again, keeping the old computer just for printing, unless QTR ever gets updated again.?
--
www.deancully.com
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Mac Operating System Compatibility with QTR and Piezography
My late-2012 27" iMac was functioning well as my Piezography printing computer until, apparently, one day a year or so ago when I upgraded its operating system beyond QTR's capacity for change. If this topic has been addressed, I'd appreciate a link. I do not find a search function here.?
? ??
--
www.deancully.com
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Re: Ilford Silver papers ??
Thanks very much for great info to move forward !!
SS
Real Photographs are Born Wet !
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On Oct 13, 2024, at 7:23?PM, Christina Z. Anderson <christinazanderson@...> wrote:
?
Steve,
You are correct. Yellow inks and magenta inks do filter light like yellow and magenta filters. But the balance in these profiles is there, and I always start with a no. 2 filter set in the
enlarger (that’s the filter I use for curve iterations) and then I have the ability to go down in contrast and up in contrast with enlarger filters just like normal if I want to vary the image, even with the yellow and magenta inks within the negative itself.
?
If I really wanted to get into the weeds in BW printing I might spend time increasing M and Y inks in different increments to see how the image changes, but for now I just need a great profile
for the BW darkroom to teach in my classes. I find students start my Experimental Darkroom class pretty “analog” and by the end I would say one to none are doing anything other than using digital bw negatives to make their work. It’s just too easy.
?
Douglas Ethridge who wrote the Silver Gelatin in the Digital Age book in the Focal Press series is a master BW printer and his book is full of good information on printing in the BW darkroom
but also on how to edit an image even before it becomes a negative. I have much to learn from him on both that end and also his QTR info.
?
Chris
?
?
Thanks so much to Christina and Richard, I am very new to this D Neg and rely on Clay a lot. ?One thing, I see the Quads that were sent for both Classic and W-Tone Ilford silver papers have a small amount of Magenta and Yellow in the Curve.
?My understanding of MC papers suggests that any color would have some impact on the actual contrast of the resulting silver image, Thoughts ??
Thanks very much in advance,
Steve Sherman
On Oct 13, 2024, at 9:47?AM, Christina Z. Anderson <christinazanderson@...> wrote:
?
I’m attaching my P900 quads that work well for these two papers. Try them and see if they work for you, but at the very least they will be a good starting point to print and run through
QCDN again. I assume you’re using P700/P900.
I do use more inks than you do, though. Your steps 10, 15, 20 are flatlined. If this were to happen I, too, do exactly as Richard suggested: manually adjust the numbers.
I used to use 1- or 2-part profiles with all other printers (3800, 3880, P800) but for some reason when I got to the P900 it behaved differently so I’d get these plateaus or areas of flatness/posterization
in palladium, BW, and cyanotype. Very frustrating. That’s what made me switch to using QCDN and 3 part profiles because I had no idea where to even start to introduce another part (Ron Reeder generally used 2 parts and I used 1 part when he and I co-wrote
the book), although with lumen prints I only still use 1 part (K and Y only) because of the amount of ink necessary to hold back light for a day exposure.
The other thing which may be heresy but I keep a slight “belly” (a Clay Harmon term) on my curves so they bowl down from the straight line slightly which works well with BW. A little more
drama and darkness.
Greetings,
??????? Anyone have a suggestion on how to correct the blips seen in the photos of higher values for both Ilford Warm Tone, and Ilford Classic silver gelatin multi-contrast papers ??? Repeated re-linearizations does not correct
Thanks in advance,
Steve Sherman
<BW-ILFORD-MG-Classic.quad><BW-ILFORD-Warmtone.quad>
?
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Re: Ilford Silver papers ??
Steve,
You are correct. Yellow inks and magenta inks do filter light like yellow and magenta filters. But the balance in these profiles is there, and I always start with a no. 2 filter set in the
enlarger (that’s the filter I use for curve iterations) and then I have the ability to go down in contrast and up in contrast with enlarger filters just like normal if I want to vary the image, even with the yellow and magenta inks within the negative itself.
?
If I really wanted to get into the weeds in BW printing I might spend time increasing M and Y inks in different increments to see how the image changes, but for now I just need a great profile
for the BW darkroom to teach in my classes. I find students start my Experimental Darkroom class pretty “analog” and by the end I would say one to none are doing anything other than using digital bw negatives to make their work. It’s just too easy.
?
Douglas Ethridge who wrote the Silver Gelatin in the Digital Age book in the Focal Press series is a master BW printer and his book is full of good information on printing in the BW darkroom
but also on how to edit an image even before it becomes a negative. I have much to learn from him on both that end and also his QTR info.
?
Chris
?
?
Thanks so much to Christina and Richard, I am very new to this D Neg and rely on Clay a lot. ?One thing, I see the Quads that were sent for both Classic and W-Tone Ilford silver papers have a small amount of Magenta and Yellow in the Curve.
?My understanding of MC papers suggests that any color would have some impact on the actual contrast of the resulting silver image, Thoughts ??
Thanks very much in advance,
toggle quoted message
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On Oct 13, 2024, at 9:47?AM, Christina Z. Anderson <christinazanderson@...> wrote:
?
I’m attaching my P900 quads that work well for these two papers. Try them and see if they work for you, but at the very least they will be a good starting point to print and run through
QCDN again. I assume you’re using P700/P900.
I do use more inks than you do, though. Your steps 10, 15, 20 are flatlined. If this were to happen I, too, do exactly as Richard suggested: manually adjust the numbers.
I used to use 1- or 2-part profiles with all other printers (3800, 3880, P800) but for some reason when I got to the P900 it behaved differently so I’d get these plateaus or areas of flatness/posterization
in palladium, BW, and cyanotype. Very frustrating. That’s what made me switch to using QCDN and 3 part profiles because I had no idea where to even start to introduce another part (Ron Reeder generally used 2 parts and I used 1 part when he and I co-wrote
the book), although with lumen prints I only still use 1 part (K and Y only) because of the amount of ink necessary to hold back light for a day exposure.
The other thing which may be heresy but I keep a slight “belly” (a Clay Harmon term) on my curves so they bowl down from the straight line slightly which works well with BW. A little more
drama and darkness.
Greetings,
??????? Anyone have a suggestion on how to correct the blips seen in the photos of higher values for both Ilford Warm Tone, and Ilford Classic silver gelatin multi-contrast papers ??? Repeated re-linearizations does not correct
Thanks in advance,
Steve Sherman
<BW-ILFORD-MG-Classic.quad><BW-ILFORD-Warmtone.quad>
?
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Re: Ilford Silver papers ??
Thanks so much to Christina and Richard, I am very new to this D Neg and rely on Clay a lot. ?One thing, I see the Quads that were sent for both Classic and W-Tone Ilford silver papers have a small amount of Magenta and Yellow in the Curve. ?My understanding of MC papers suggests that any color would have some impact on the actual contrast of the resulting silver image, Thoughts ??
Thanks very much in advance,
toggle quoted message
Show quoted text
On Oct 13, 2024, at 9:47?AM, Christina Z. Anderson <christinazanderson@...> wrote:
Steve, I’m attaching my P900 quads that work well for these two papers. Try them and see if they work for you, but at the very least they will be a good starting point to print and run through QCDN again. I assume you’re using P700/P900. ? I do use more inks than you do, though. Your steps 10, 15, 20 are flatlined. If this were to happen I, too, do exactly as Richard suggested: manually adjust the numbers. ? I used to use 1- or 2-part profiles with all other printers (3800, 3880, P800) but for some reason when I got to the P900 it behaved differently so I’d get these plateaus or areas of flatness/posterization in palladium, BW, and cyanotype. Very frustrating. That’s what made me switch to using QCDN and 3 part profiles because I had no idea where to even start to introduce another part (Ron Reeder generally used 2 parts and I used 1 part when he and I co-wrote the book), although with lumen prints I only still use 1 part (K and Y only) because of the amount of ink necessary to hold back light for a day exposure. ? The other thing which may be heresy but I keep a slight “belly” (a Clay Harmon term) on my curves so they bowl down from the straight line slightly which works well with BW. A little more drama and darkness. ? Chris ? Greetings,
??????? Anyone have a suggestion on how to correct the blips seen in the photos of higher values for both Ilford Warm Tone, and Ilford Classic silver gelatin multi-contrast papers ??? Repeated re-linearizations does not correct
Thanks in advance,
Steve Sherman
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greg brophy
DFC