What is the point of a custom profiled warm paper.

[texshooter]

Why creat a icc profile yourself for a warm paper such as Museo Silver Rag when the warm tint will be corrected by the profile. Does the warmth of the paper show through despite the color balanced profile. I don't get it, unless you're not supose to use profiles other than the manufacturer's. I like the Museo Silver Rag's surface but want to get rid of its yellow tint, which got me thinking. The answer is in front of me; I just can't see it.

[Schewe]

The point is to correct the image output based on the tone/color of the paper. DOH...guess what, a warm colored will impact the color balance of an image. The point of a profile it to try to maintain color accuracy regardless of the the paper being used. Do you test this stuff for yourself before asking these questions?

[texshooter]

I will have to buy a box of it before I can test it.  I used up both of my sample sheets while using the manufacturer's profile. But I was hoping I could ask first. I'll use the money I save from your answer to buy another one of your educational videos.  Are you saying that after I profile using my ColoMunki, that the warmth of this paper will be retained despite the white balancing effect of the profile? I don't understand why the profiler would leave the tint intact, except on the unprinted borders of course. Sorry I didn't understand your answer.

[bill t.]

The answer is get a more neutral or brighter paper.

The problem is, it takes ink to correct the paper color.  That's fine up through the medium bright tones, but as you get into the brightest areas you simply can not lay down enough ink to correct the media color, without also taking down the maximum brightness available in the print.  Completely correcting the media color in the brightest print areas by applying inks can only make those areas darker.

[texshooter]

face palm

[Johnny_Boy]

Don't feel dumb, I asked very similar question when I first started to print. The warmth does show through but not evenly across the entire image, as Bill said.

[Ernst Dinkla]

You can make a profile and adapt to to the paper white or create neutral greys in profiling. In the end the profile describes the color gamut of one of the choices and your image with its gamut will be rendered to that gamut in printing. There are neutral/warm papers with a higher white reflectance than some neutral/cool papers with OBA content. Main point is you select the paper that suits the image. Enough has been written on the fact that an OBA paper depends on the UV content of light to work, otherwise its brightness drops and profiling is off .... if it was actually profiled with an UV enabled spectrometer and then again what choice has been made, paper white adapted or neutral greys. That our eyes/brain interprets higher brightness as having more white reflectance does not change the fact that the paper is not neutral either then. Compromises are made with whatever choice.


--
Met vriendelijke groet, Ernst

340+ paper white spectral plots:
http://www.pigment-print.com/spectralplots/spectrumviz_1.htm
update july 2012: Moab changes, paper sorting by name

[Rob C]

Nothing changes. I disliked using 'warm' papers, toners and funny surfaces with wet chemistry papers. There was something beautiful and honest about a well-glazed WSG print on double-weight. Nothing matches its range of tones (if you have them in the first place, of course) and the discovery yesterday of some old prints made on horrid, plastic Multigrade paper (forced on me by circumstances) still took my breath away. I thought I could do great b/whites on my HP, but it's only because one forgets what bromide could give that one can delude oneself that way.

Babies, baths, water.

We have collectively settled for inferiority. Because it's convenient.

Rob C

[Ernst Dinkla]

We have collectively settled for inferiority. Because it's convenient.

Rob C

There have never been more media choices. Never been more tone control, more color control, more gamut, more consistency than possible today. It is covenient if one does not chase the best quality, it still is a challenge to get the best quality. Like it was in the past.

True, with an HP B9180, PK and LG ink only and no gloss enhancer aboard, it gets difficult to make a good B&W gloss. On any gloss paper. In general HPs Vivera pigment printers are excellent for matte B&W, very good for matte color prints but not so good for gloss prints. The Canon iPF8300 is however good for gloss.


--
Met vriendelijke groet, Ernst

340+ paper white spectral plots:
http://www.pigment-print.com/spectralplots/spectrumviz_1.htm
update july 2012: Moab changes, paper sorting by name