Gray Curves for the Epson Advanced B&W Photo Driverby Eric ChanLast updated: January 18, 2008
Updates
IntroductionI prefer to use the Advanced B&W Photo (ABW) mode instead of the Color mode when printing black and white images on my Epson 3800. Here's why:
In contrast, when we print black and white images through the ABW driver, we don't use the standard ICC color profiles because those profiles are based on the RGB driver, not the ABW driver. In fact, Epson recommends setting the Color Handling option in Photoshop's Print With Preview box to No Color Management. This means that your images' RGB values are passed directly to the ABW driver unmodified. For example, if you place Photoshop's eye dropper over a pixel and find that it has RGB values (37, 37, 37), then (37, 37, 37) is exactly what Photoshop will give to the ABW driver. Simple enough, right? Well, not so fast ...
ChallengesThere are a few wrinkles with this approach, and they all have to do with the fact that the output process isn't color-managed. (We'll see how to iron them out in the next section.)
Fortunately, all three of these problems can be solved using a dedicated gray profile (instead of a RGB color profile) or using gray curves that map the RGB working space values to the required output space values. Let's take a look at these options below.
Gray ProfilesYou can make gray profiles by printing a gray stepwedge, measuring it with a densitometer or spectrophotometer, and feeding the measurements to Roy Harrington's QuadToneRIP software, which will generate an ICC gray profile for you. This process is described in detail by Giorgio Trucco, so I won't repeat the instructions here.
Gray CurvesI have found that I can get even better results by building custom gray curves in Photoshop. These paper-specific curves reproduce tones accurately throughout the entire range from shadows to highlights.How are these gray curves made? I print a gray target, measure it with my Eye-One Pro, and save the results in Lab format. Next, I feed the measurements into a custom software program that I've written. The program constructs the curve that maps RGB working space values to output space values in a way that preserves tonal relationships (see here for details). For example, RGB = (0, 0, 0) in the working space is mapped to the paper's deepest black (i.e., d-max), middle gray in the working space is mapped to the paper's middle gray, etc.). The program then saves the curve as a Photoshop curve (.acv) file. Gamma 1.8 vs. gamma 2.2 issues are handled by generating two curves, one designed for gamma 1.8 and the other designed for gamma 2.2. For instance, here's a gray curve for Epson Velvet Fine Art on an Epson 3800 when loaded into Photoshop:
The gray curve above is designed to be used with gamma 1.8 working spaces, such as ProPhoto RGB or Gray Gamma 1.8. In contrast, the gray curve below is for the same paper and printer (and is actually built from the same measurement data as the curve above), but it's designed to be used with gamma 2.2 working spaces, such as Adobe RGB or Gray Gamma 2.2.
I have converted my gray curves for my Epson 3800 to standard ICC profiles so that they may be used from any ICC-aware application, such as Photoshop, Lightroom, and QImage. These profiles are available on this page. Feel free to download them and try them. Only a few curves are available right now, but I intend to add more as I work with more papers.
Gray Curve InstructionsImportant: the following information applies only to my older .acv gray curve files, which are no longer available. I now recommend using my newer standard ICC profiles instead.Using gray curves is easy. Process your image normally in Photoshop, using what you see (on your calibrated display) as your soft proof. Then, as the final step before printing, add a curves adjustment layer and load the gray curve from the .acv file; the curve effectively performs the conversion from your working space to the printer space. That's it -- go ahead and print! Here are more detailed, step-by-step instructions for Photoshop CS2 running on Windows XP. These instructions should also work fine under Mac OS X, but the application and driver settings may have slightly different names.
Tips and TricksSometimes, tweaking the gray curves will give you better results than the default gray curves. Let's take a look at two examples.Example 1: Minimizing Gloss Differential on PK Papers Gloss differential is a phenomenon where the amount of light reflected off of the surface of the print seems to vary across the image. This gives the impression that some parts of the image are "shinier" or "glossier" than others. It is noticeable mostly in highlight regions which receive little or no ink. When the print is viewed at certain angles, it becomes clear that the parts of the paper that receive little or no ink seem to reflect light differently than the parts of the paper that receive heavier ink coverage. Gloss differential occurs only with PK papers (e.g., glossy, luster, semigloss surfaces). One way to minimize gloss differential is to reduce the maximum gray level from 255 slightly (e.g., to 252 or 253). This is easy to do by modifying the default gray curve. For instance, here is the gray curve for Ilford Smooth Gloss, Gamma 1.8, after adjusting the top-right control point downwards slightly so that the Output value is 252 (instead of the default 255). This will reduce gloss differential at the expense of slightly compressed highlights.
Example 2: Extra Shadow Detail The default gray curves should provide excellent shadow detail, but only if the print is properly illuminated. This won't be an issue if you stick your print in a highly-controlled viewing booth, but in typical household environments, lighting conditions may not be so friendly. For these situations, you may want to open up the shadows a bit. This is easy to do by modifying the default gray curve. For instance, here is the gray curve for Ilford Smooth Gloss, Gamma 1.8, Move your cursor over the image to see what it looks like after the second control point from the left has been deleted. This raises the curve in the deepest shadow areas, thereby making it easier to "see" into the shadows of your image without affecting the lighter tones.
Technical DetailsThis section explains how to convert a working space RGB or gray value to an output device value that has the same perceived lightness.The ABW driver is really a grayscale driver. In a nutshell, this means that if we send a color RGB image to the ABW driver, the driver will convert the color image to a grayscale image before printing it. Giorgio Trucco gives more details here. The L* channel of the Lab color space is a perceptually linear encoding of lightness on the scale from 0 to 100. In an 8-bit RGB working space, RGB = (0, 0, 0) corresponds to L* = 0 and RGB = (255, 255, 255) corresponds to L* = 100. In practice, we don't get L* values of 0 or 100 when we print an image on paper. L* can't be 0, because papers always reflect some amount of the incident light. Similarly, L* can't be 100, because papers don't reflect all of the incident light. For example, here is a table of measurements obtained by printing a 51-patch gray target on my Epson 3800 printer on Epson Velvet Fine Art paper and then measuring the results with my spectrophotometer:
As you can see from the table, the L* values range from 14.33 to 97.14. Most matte papers have L* values that range from 17 to 95 or so. (Velvet Fine Art has an unusually deep black.) The idea when building a gray curve is to scale our working space L* values (which range from 0 to 100) to the available L* range of the paper. For example, L* = 0 and L* = 100 in our working space should map to L* = 14.33 and L* = 97.14 on Velvet Fine Art, respectively, and all other working space L* values between 0 and 100 should be linearly scaled to fit the output range [14.33, 97.14]. Here are the specific steps required to construct a gray curve:
In this example, V = 42 and g = 1.8 (since the gamma of ProPhoto RGB is 1.8). After crunching through the math in Step 1, we find that L* = 23.3. According to the measurement table, Lmin = 14.33 and Lmax = 97.14. This gives us everything we need to perform Step 2, and we find that L*dst = 33.63. Finally, we need to figure out which output space values will produce L*dst = 33.63. According to the measurement table, 33.63 falls between RGB value 66 (which produces L* = 32.54) and RGB value 71 (which produces L* = 34.98). Linearly interpolating between these two output RGB values, we obtain 68.24. What have we learned? In a nutshell: if we have an 8-bit ProPhoto RGB image that contains a pixel with value 42, we should actually send the value 68 to the ABW driver. (Note that this correspondence is only valid for the Epson 3800 and Epson Velvet Fine Art when using the specific driving settings listed on this page.)
AcknowledgmentsThanks to Bruce Lindbloom for sharing a wealth of color-related articles and reference material on his highly educational web site.
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