Good to know Sandy, especially if/when I get that printer for my home lab where I could leave a stack of Pictorico in the cassette.
I haven’t figured out how to use the cassette in a gang lab since everyone has their own Pictorico…so it’d be opening and loading the tray all the time…
Have you tried loading the film from the paper cassette? My experience with the 4880 and now the P5370 is that sheet film or paper will load much easier from the paper cassette than the top feed.?
Have you tried loading the film from the paper cassette? My experience with the 4880 and now the P5370 is that sheet film or paper will load much easier from the paper cassette than the top feed.?
If anyone has worked with the P5370 and it keeps showing the error message “paper not detected,” this week I tried taping one edge with opaque tape, worked but not always, drawing sharpie
pen lines along the bottom and side edge (in both instances assuming it is an OPTICAL issue detecting the paper) also worked but not always. Well yesterday teaching a digital negatives workshop one of my students offhandedly mentioned that she pushes down
on the top edge of the OHP as it is being detected, essentially putting a bit more weight or pressure on the bottom edge, and it solved the problem. It actually worked consistently. They had figured it was a weight issue, not an optical issue.
Don’t have any proof of this but thought I’d share anyway because that ding ding ding error light and message is really annoying especially in a class of 16.
Note that all my other printers I have used, 1900, 2200, 2400, 3800, 3880, P700, P800, P900 have never displayed this tendency to not detect the paper, but the P5370 is the most I would
say “pro” printer of all of these.
We set one of these printers up in a workshop last year and got it working just fine. I seem to remember there being a support tray that can be pulled out to support the carrier as it is printed.?
I do remember loading the carrier was sort of an acrobatic exercise getting the front of the carrier aligned with a registration mark buried pretty far back in the printer.
It sounds like you are using Toyobo plates and the roller marks are a known problem with those plates. Many have have reported success letting them dry for 30 minutes at low heat after the protective covering is removed. Torelief plates don’t exhibit this issue.
The media settings we recently used for a P900 are outline here:
You could try those some settings and see if they work for you.
On Apr 3, 2025, at 11:13?PM, tex.4810 via groups.io <tex.4810@...> wrote:
[Edited Message Follows]
I'm struggling with getting the 5370 to work with DTP. After trying a number of different approaches, the option that seems to want to work is creating a DTP Custom Paper Setting in the printer, loading the plate carrier (I'm using an 8.5" X 11" one to hold an exposure test plate) and then sending the exposure test file to the printer from Print Tool. This isn't perfect, particularly as far as what you can see in the way of Print Tool settings but it might be sending over a QTR Calibration file as requested.
?
Unfortunately, every plate comes out with roller marks.
?
The carrier is fed into the printer and then pushed back out to the front as ink is applied. There's very little support for the plate on the outbound trip.
?
A revelation would be greatly appreciated.
?
I adopted the Custom Paper Setting approach because the 5370 isn't provided with any poster board media files. Two Epson poster paper files are provided, both with photo paper as the media type. I looked online for Epson poster board media and or icc files - nothing from Epson.
I'm struggling with getting the 5370 to work with DTP. After trying a number of different approaches, the option that seems to want to work is creating a DTP Custom Paper Setting in the printer, loading the plate carrier (I'm using an 8.5" X 11" one to hold an exposure test plate) and then sending the exposure test file to the printer from Print Tool. This isn't perfect, particularly as far as what you can see in the way of Print Tool settings but it might be sending over a QTR Calibration file as requested.
?
Unfortunately, every plate comes out with roller marks.
?
The carrier is fed into the printer and then pushed back out to the front as ink is applied. There's very little support for the plate on the outbound trip.
?
A revelation would be greatly appreciated.
?
I adopted the Custom Paper Setting approach because the 5370 isn't provided with any poster board media files. Two Epson poster paper files are provided, both with photo paper as the media type. I looked online for Epson poster board media and or icc files - nothing from Epson.
Good point, Bob. I assume any of my students who are going to purchase it this semester will be purchasing the most recent, and the old one had a different name (QCDN), and I also assume
people using QCDN will update to QTP-DN (paying $85 to keep software alive is a small price to pay to a software designer), but you know what they say about “assume.”
I’ve had to revise the handout probably a dozen times, and especially now that the software is called QTP-DN not QCDN and needed
new screen shots.
?
Also every time a student makes a mistake or something isn’t clear, I revise my steps, so it is as student-friendly and as pared
down as it can get. I can’t imagine how to make it simpler than this. I will be doing a digital negative weekend workshop in a couple weeks for faculty and students combined,
only those who choose to be there, so I’ll get to test it on photo faculty, too. That’ll be a hoot.
?
At the risk of Richard yelling at me on this list again, I attach the newest handout, though Richard would prefer me not to share
my directions in case I “mislead someone and he has to correct the error” so caveat emptor. My step-by-step way of teaching and using the software is the way I have worked and taught now for six years (QTR) and several years (QCDN) and is also informed by
Bill Schwab’s videos.? Co-authoring the QuadToneRIP book with Ron Reeder taught me the bare bones behind these systems.
?
Ron was definitely a 2-part profile person and only was slightly convinced in other modes just before he died. He felt 3-parts
used too much non-performing ink (LK, LLK). When I first learned QTR, not from Ron but Sandy King, Sandy taught me a 1-part profile. I studied the differences between 1, 2, and 3 parts and have come to the conclusion that for certain processes there is no
need to use tons of LK and LLK ink in a negative. My lumen negatives are 1-part , K and Y following the same “trajectory,” and I’m working now with a 1-part gum bichromate profile, too. All this to say I do actually create 1, 2, and 3 part starter profiles
but those 1 and 2 parts start from ink descriptor txt files, installed as normal, and then the resulting quads can be brought into QTP-DN and mapped like any other profile. With an ink descriptor file there are variables you can change (gamma, highlight, shadow,
overlap, gray value) but that is beyond a beginning college-level alt student so I no longer go there. I would say 25% of my students want to learn profiling. 5% ink descriptors.
Thanks for the detailed explanation, and for the tips about decimal points. Your explanation of the blur/average completely makes sense to me. I'll
have to try it after the semester ends.? I've used targets that were created in an attempt to mitigate for hand-coated anomalies. Would be interested in doing a comparison of results.?
?
PS: I have two versions of instructions, perhaps one of them is older???
I’ve had to revise the handout probably a dozen times, and especially now that the software is called QTP-DN not QCDN and needed new screen shots.
?
Also every time a student makes a mistake or something isn’t clear, I revise my steps, so it is as student-friendly and as pared down as it can get. I can’t imagine how to make it simpler
than this. I will be doing a digital negative weekend workshop in a couple weeks for faculty and students combined,
only those who choose to be there, so I’ll get to test it on photo faculty, too. That’ll be a hoot.
?
At the risk of Richard yelling at me on this list again, I attach the newest handout, though Richard would prefer me not to share my directions in case I “mislead someone and he has to correct
the error” so caveat emptor. My step-by-step way of teaching and using the software is the way I have worked and taught now for six years (QTR) and several years (QCDN) and is also informed by Bill Schwab’s videos.? Co-authoring the QuadToneRIP book with Ron
Reeder taught me the bare bones behind these systems.
?
Ron was definitely a 2-part profile person and only was slightly convinced in other modes just before he died. He felt 3-parts used too much non-performing ink (LK, LLK). When I first learned
QTR, not from Ron but Sandy King, Sandy taught me a 1-part profile. I studied the differences between 1, 2, and 3 parts and have come to the conclusion that for certain processes there is no need to use tons of LK and LLK ink in a negative. My lumen negatives
are 1-part , K and Y following the same “trajectory,” and I’m working now with a 1-part gum bichromate profile, too. All this to say I do actually create 1, 2, and 3 part starter profiles but those 1 and 2 parts start from ink descriptor txt files, installed
as normal, and then the resulting quads can be brought into QTP-DN and mapped like any other profile. With an ink descriptor file there are variables you can change (gamma, highlight, shadow, overlap, gray value) but that is beyond a beginning college-level
alt student so I no longer go there. I would say 25% of my students want to learn profiling. 5% ink descriptors.
Thanks for the detailed explanation, and for the tips about decimal points. Your explanation of the blur/average completely makes sense to me. I'll have to try it after the semester ends.? I've used targets
that were created in an attempt to mitigate for hand-coated anomalies. Would be interested in doing a comparison of results.?
?
PS: I have two versions of instructions, perhaps one of them is older???
I’ve had to revise the handout probably a dozen times, and especially now that the software is called QTP-DN not QCDN and needed new screen shots.
?
Also every time a student makes a mistake or something isn’t clear, I revise my steps, so it is as student-friendly and as pared down as it can get. I can’t imagine how to make it simpler
than this. I will be doing a digital negative weekend workshop in a couple weeks for faculty and students combined,
only those who choose to be there, so I’ll get to test it on photo faculty, too. That’ll be a hoot.
?
At the risk of Richard yelling at me on this list again, I attach the newest handout, though Richard would prefer me not to share my directions in case I “mislead someone and he has to correct
the error” so caveat emptor. My step-by-step way of teaching and using the software is the way I have worked and taught now for six years (QTR) and several years (QCDN) and is also informed by Bill Schwab’s videos. ?Co-authoring the QuadToneRIP book with Ron
Reeder taught me the bare bones behind these systems.
?
Ron was definitely a 2-part profile person and only was slightly convinced in other modes just before he died. He felt 3-parts used too much non-performing ink (LK, LLK). When I first learned
QTR, not from Ron but Sandy King, Sandy taught me a 1-part profile. I studied the differences between 1, 2, and 3 parts and have come to the conclusion that for certain processes there is no need to use tons of LK and LLK ink in a negative. My lumen negatives
are 1-part , K and Y following the same “trajectory,” and I’m working now with a 1-part gum bichromate profile, too. All this to say I do actually create 1, 2, and 3 part starter profiles but those 1 and 2 parts start from ink descriptor txt files, installed
as normal, and then the resulting quads can be brought into QTP-DN and mapped like any other profile. With an ink descriptor file there are variables you can change (gamma, highlight, shadow, overlap, gray value) but that is beyond a beginning college-level
alt student so I no longer go there. I would say 25% of my students want to learn profiling. 5% ink descriptors.
Thanks for the detailed explanation, and for the tips about decimal points. Your explanation of the blur/average completely makes sense to me. I'll have to try it after the semester ends.? I've used targets
that were created in an attempt to mitigate for hand-coated anomalies. Would be interested in doing a comparison of results.?
?
PS: I have two versions of instructions, perhaps one of them is older???
Thanks for the detailed explanation, and for the tips about decimal points. Your explanation of the blur/average completely makes sense to me. I'll have to try it after the semester ends.? I've used targets that were created in an attempt to mitigate for hand-coated anomalies. Would be interested in doing a comparison of results.?
?
PS: I have two versions of instructions, perhaps one of them is older???
I was wondering where I said measure 3x and average on my instructions, but you must be referring to
Xrite instructions correct? I don’t measure anything 3x and average.
But I do blur/average every step on a 21 step printed target and read that blur averaged step once and log it into a plain text file in Word. Then I pull that .txt down to Data Tool
and Export Data from Data Tool.
I used to use a densitometer to measure the step wedge, but when I pitted my densitometer measures against Photoshop’s LAB the curves plot the same so I quit using my densitometer to measure
my step wedge and now just do it in Photoshop. I also don’t use two decimal points in LAB. Mostly a waste of time.
And sometimes I fudge points because a blip can indicate a coating anomaly and not a process response anomaly.
I turn off all adjustments in the Epson Scanner when scanning for sure.
It used to be that I blur averaged every step then set a white and black point for Step 0 and 100 but for two reasons I don’t do that anymore either: one is it slightly alters the relationships
in-between steps 5 and 95 and two, the curves tend to follow the same trajectory anyway when plotted, too.
For the record, lately I have returned to a one-part profile for gum printing for a number of lengthy reasons I won’t go into, the main one being there is no need for all that LK and LLK
ink in a negative for gum. For one-coat processes like new cyanotype or palladium, LK and LLK do give more grunt in the shadows but overkill for gum. But I think you are doing cyanotype if I am not mistaken.
For anyone who is using the Xrite i1 for measuring targets, or Chris. I was reviewing Chris's(your) great instructions for QCDN. I like these because they are written using numbered steps (thank you!), which
my brain prefers. The instructions mention to measure a target three times with an average, and send to the Data Tool (I only just began using this.) My question is how does one "read three times" and then "average".? If I read each row of the target, multiple
times, does it simply override the last measurement, or does it somehow average the reading? Any guidance on achieving the average via multiple readings of the target would be helpful.? I typically measure the target once, but I am interested in attempting
to work with an average to see if it yields a better result.??
For anyone who is using the Xrite i1 for measuring targets, or Chris. I was reviewing Chris's(your) great instructions for QCDN. I like these because they are written using numbered steps (thank you!), which my brain prefers. The instructions mention to measure a target three times with an average, and send to the Data Tool (I only just began using this.) My question is how does one "read three times" and then "average".? If I read each row of the target, multiple times, does it simply override the last measurement, or does it somehow average the reading? Any guidance on achieving the average via multiple readings of the target would be helpful.? I typically measure the target once, but I am interested in attempting to work with an average to see if it yields a better result.??
Thanks for reviewing this. I have no idea. I essentially abandoned that target and printed another from the QCDN package which seems to be working fine. I always feel like there is so much to learn at every turn, just when I believe I have a solid work flow.?
I was wondering if anyone has experience installing QTR on Epson Ecotank printers. I’ve read in other posts that for the L1800 model, it’s possible to use the profile of the 1400/1430. Has anyone tested it with the L8180 (8550)?
Would it be possible to use another profile or make some kind of adaptation to make it work with this model?
Neither of those files crash QCDN on my computer (Sonoma 14.7.1, QCDN 3.2) but when I open the 22 number one in QCDN I get a blank grid and a blank LAB but then I open the 21 step one and
I get this with your 100 going back to 94. I have never seen LAB when the final number goes back to a high but I don’t use the iPro either, I measure in Photoshop LAB, so maybe that is a function of iPro. My question is whether along with having that extra
point (22 instead of 21) you also have a wrong measurement number. But someone well versed in iPro probably has a correct answer that I don’t.
Chris
Thanks all for your help. I found that if I changed the .txt file to have 21 sets instead of 22, and deleted the last entry of data (line 22), saved this, and the place into QCDN, no more crashing. I seem
to recall something about even/odd numbers at some point??? ?I've attached both files, the file with the "21" in the name is the file with the deleted line of data.
I have an old Epson Stylus2200 and used it years ago for
printing digital negs. Haven't used it in at leat 7-8 years. I
bought some expired ink and cannot get anything near a
print-just some light color, no B&W coming through at all.
Laughingly, it is recognized and shows as having full ink
cartridges. I expect the problem is the nozzles/print head, but
the question I have is whether to get it fixed, or just toss it.
I have a Canon PIXMA Pro100 that I use for printing, but wanted
to get back into alternatyive photography, hence breaking out
the R2200 from the shelf.? Any recommendations greatly
appreciated.
Re: Epson p800 Drying time per head pass control on Windows
Criss thank you.
I am on Windows so Print tool won't? work but there is another application for windows QTRgui. It looks pretty much the same.
So that should be alright.
I need to print RIPped image (made of dots). Will that work if I follow your advice? I thought I have to use Quadtone driver for that.
And that driver unfortunately bypasses the original epson driver.
Best
Marek
?r., 19 mar 2025, 15:36 u?ytkownik Criss Hartzell via <hartzell.1946=[email protected]> napisa?:
I had? a similar problem with the P900. Here is how I solved it. Use the Epson media installer to make a new media file. For example, duplicate Premium Gloss. Then edit the parameters you want - like time per pass. Save with a new name and install it on your printer.
Set the paper type on the printer to your new media name and print from Print Tool as usual.
On Wed, Mar 19, 2025 at 5:54?AM wesmarek1 via <wesmarek1=[email protected]> wrote:
Hi,?
?
Ink is not drying fast enough while i am printing on a? photopolymer plate.
I use Epson sc P800 and Quadtone application on Windows 11.
Extending Drying time per head pass would help but I do not know how to change it with quadtone.
?It is possible to change that in Epson driver but I cannot do it with QTR?
Thanks all for your help. I found that if I changed the .txt file to have 21 sets instead of 22, and deleted the last entry of data (line 22), saved this, and the place into QCDN, no more crashing. I seem to recall something about even/odd numbers at some point??? ?I've attached both files, the file with the "21" in the name is the file with the deleted line of data.