Luminous Landscape Forum
Raw & Post Processing, Printing => Printing: Printers, Papers and Inks => Topic started by: mbishoff on September 04, 2009, 03:17:20 pm
-
Hi folks, I really need some help with an interesting problem. I have an Epson 4880 stylus pro printer. I'm using the Epson Lustre photo paper along with the appropriate icc profile. Photoshop is managing color.
Here's the thing... In the photo, there are blown highlights in a few places. I have no way to restore detail in the highlights, but I would like to lay down white ink in these areas so the finished product looks complete... If you view the final print at an angle, you can easily see the spots where there is zero ink...
I went through a printer calibration, determined the levels at which the printer will stop laying down ink (252). I then used curves to adjust the output levels below 252, but unfortunately there was no change whatsoever. Using Camera Raw, I can easily see the white clipping. When I go through the process to reduce the clipping and then go to print, the problem is still there.
When I readjust the curve (white point) to around 232, then I start getting some ink laid down... Still not perfect but better.
I now don't know what direction to head to try to understand and fix this problem. I would really appreciate any thoughts or suggestions that any of you might have...
Kind Regards
-
when you did your test that resulted in the 252 finding, did you do it through the profile and settings exactly as you would an image?
Make sure nozzles are all good?
-
I seem to remember reading, years ago, about techniques for "repairing" blown out highlights in scan files. There was a method to fill in these areas with a noise pattern that mimicked film grain.
I don't remember how it's done, but I remember that it can be done. So if you search for it, maybe you'll find it.
Failing that, you can always spray on a protective overcoat. This will hide the ink/paper surface so you can't see where the ink starts/stops.
-
It's my understanding that there is no white ink, instead pure white is created by not printing on a specific part of the
paper, canvas etc. Thus pure white will have no ink. This transition can be harsh as you have seen especially with
Luster paper. You might try Premium glossy as I have found it to be more forgiving in this situation. Even though you are
not at 252, you are close enough per the driver for it to want to be pure white.
Paul Caldwell
-
It's my understanding that there is no white ink, instead pure white is created by not printing on a specific part of the
paper, canvas etc. Thus pure white will have no ink. This transition can be harsh as you have seen especially with
Luster paper. You might try Premium glossy as I have found it to be more forgiving in this situation. Even though you are
not at 252, you are close enough per the driver for it to want to be pure white.
Paul Caldwell
Thanks alot Gents!! I believe the issue is just simply the paper after all... Sheesh! Anyway, I truly appreciate you taking your time to give me some ideas and your thoughts!
When using Lustre, it seems imperative to manage the highlights with great care!
Thanks again!
Mark
-
Thanks alot Gents!! I believe the issue is just simply the paper after all... Sheesh! Anyway, I truly appreciate you taking your time to give me some ideas and your thoughts!
When using Lustre, it seems imperative to manage the highlights with great care!
Thanks again!
Mark
Blown highlights can also be managed, as mentioned above, by masking the blown area and then either using a subtle fill pattern or, as I do, simply playing with curves to take the edge off the dead white. I've done that with portraits and it really makes shiny foreheads less obstrusive.