Harman Gloss FB AI - generic profiles

[alanrew]

Just out of curiosity, I've just downloaded the profile for my Epson R2400 with standard K3 inks for this paper from the  Harman web site and looked at it in ChroMIX ColorThink Pro. This is something I've been doing for a long time with custom profiles I make for myself with GM eyeOne/PMP and also for generic profiles from web sites. I've learnt to spot problems with papers (assuming the profile has been made correctly) from the basic plots.

I'm staggered by how 'linear' this profile looks, based on plotting the RGB neutral axis. Most custom profiles for glossy papers for this printer have neutral axes that stray far from the L* neutral axis (due to OBs), and have a 'lump' at the base (dark end) which usually correlates with blocked up shadows (the paper can't handle the amount of ink laid down using the standard Epson driver settings). The 'curves' tab also shows a nice smooth gradient, the Relative Colorimetric neutral curve never straying more than 0.4 dE from neutral.

From the data (assuming Harman haven't 'tweaked' the profile, as Epson do for some of their printer profiles) this looks like it could be the best glossy paper for the R2400 I've seen (or rather, not seen yet!).

For the record, the basic info. from ColorThink Profile Inspector are (L*a*b* values)
white point: 98, -1,0
black point: 6, 0, 0
red primary: 50, 74, 61
green primary: 34, -65, 22
blue primary: 9, 32, -47
the profile was made using MONACO software.


I'll be ordering some of this as soon as it's available in the UK, and report the actual performance with my printer.

Regards,

Alan

[Rob C]

No disrespect, Alan, far from it, but this post sums up something which I´ve believed for a long time: the difference between the wet darkroom printer (the person) and the digital printer is huge; as I´ve written before, had darkroom work been so technical rather than seat-of-the-pants I´m pretty sure I´d have gone into a different career. I´m very glad that I did not, but the attraction, the old touch of chemical magic which held me spellbound, is just not there for me in the new order of things. Yes, I do print digitally now, but photography as the magnet for me that is was has flown.

I did some experimental work a couple of days ago and had the files downloaded and into PS with printer-ready results very quickly. But you know what, that very speed made me feel a little as if I´d just been playing around with Polaroids...

I do think that digital, both capture and printing, is the way to go - the market will make it so regardless, but perhaps the problem is just in the minds of others of a certain age. We do eventually get to grips with the beast, but something gets lost on the way.

Ciao - Rob C

[POAH]

you can buy it already.  I've ordered some from speed graphic

[iliosgallery]

No disrespect, Alan, far from it, but this post sums up something which I´ve believed for a long time: the difference between the wet darkroom printer (the person) and the digital printer is huge; as I´ve written before, had darkroom work been so technical rather than seat-of-the-pants I´m pretty sure I´d have gone into a different career. I´m very glad that I did not, but the attraction, the old touch of chemical magic which held me spellbound, is just not there for me in the new order of things. Yes, I do print digitally now, but photography as the magnet for me that is was has flown.

I did some experimental work a couple of days ago and had the files downloaded and into PS with printer-ready results very quickly. But you know what, that very speed made me feel a little as if I´d just been playing around with Polaroids...

I do think that digital, both capture and printing, is the way to go - the market will make it so regardless, but perhaps the problem is just in the minds of others of a certain age. We do eventually get to grips with the beast, but something gets lost on the way.

Ciao - Rob C
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