Canson Rag and Platine Photographique

[Arthur Nichols]

Hello All,
I am relatively new to digital printing and am still sorting out my workflow. I have an HPZ3200 and am using Canson Rag and Platine Photographique papers.
Comparing between the two papers I do see that the density and separation in the low tones is much better on the Platine than the Rag. I am using the latest profiles from Canson. I know that this is typical of using matte papers but I was wondering if there were any tricks I could use to improve the low tone separation and DMax in the Rag paper. I would like to be able to make identical prints going back and forth between these two papers. Any input or experience is appreciated.
Thanks
Art

[Greg Miller]

One thing you can do is print a step wedge (see the attachment). You can then look for the darkest lack tones where you can actually differentiate between one black tone and its neighbor (which is the darkest tome where you can hold detail). Note the numeric value of this point (with a matte paper you will likely be somewhere between 10 and 18). You now know the darkest black that your printer can print on that paper and hold shadow detail. Any black values in your image darker than that will all render the same tine and will not have detail.

You can use to when printing. Before you print, create a levels layer and change the output value of the black tone to the numeric value noted above. This will cause a black tone with an RGB value of 0,0,0 in the image to be printed at the value entered (e.g. RGB value of 10,10,10). All tones in the image file brighter than that value will also be increased.

Since the darkest tine in the image will now be printed at the darkest value the printer/paper can render an discrete tone, the print will contain more shadow detail.

[Ken Lee]

I would like to be able to make identical prints going back and forth between these two papers.

Please let us know if you succeed. I guess the term "identical" is a matter of degree.

Be sure to view your matte images under glass (if you intend to frame them under glass eventually). The apparent differences may somewhat diminish.

[Arthur Nichols]

Thanks for the info. I should have mentioned that this applies mainly to B&W work. I have had pretty good luck with matching prints in color. This was when I was using an Epson R2000. The HPZ3200 is a different beast altogether. I contacted Canson and they were very responsive. A rep called me right away and is working with me to make sure I have everything setup properly in the driver. The HP driver is quite complex and I am still on the learning curve with this machine. The B&W prints that I have done so far on Platine are awesome though.

[Arthur Nichols]

Also I know identical may not be perfect but it does seem that they should be closer than they are.

[Tyler Boley]

no they will not be close, it's the nature of the materials. On the other hand, many of us feel the fine art matte papers present tones and colors more luxuriously, but less dramatic. Under glass many of these differences become minimized to some degree, depending on lighting. With very careful media / driver setting tests, and then reprofiling ( all this is too long a post) you MAY gain some dmax, gamut, and/or shadow detail. On the other hand, I have absolute faith in who I know is making the Canson profiles, and they undoubtedly have already done this, resulting in the profiles and instructions (driver/media settings) so I'd not bet on much difference.

These are the options available by selecting one or the other of these types of papers, they are not intended to be, nor can they be, visually matching. I have to add that the HP B&W output on matte generally has the highest of inkjet B&W dmax, generally around 1.8, so I'd guess you are already seeing what's possible.

[Arthur Nichols]

This printer target is very helpful in sorting out my printing process

[bob carnie]

Greg's advice is great would work for the highlight area as well.

I am always aware of the end points for every paper ink silver combination, and they are all different.

When I want more separation in shadow areas I will make sure I am in RGB then make a layer.. go to select colour range activate the shadow areas,then steepen the curve on the low end. This will then allow only one area to build up local contrast without affecting the mid and highlight areas.