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Digital Negatives with QuadToneRIP: Demystifying QTR for Photographers and Printmakers [Minkštas viršelis]

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, (Professor of Photography at Montana State University, Bozeman)
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Digital Negatives with QuadToneRIP: Demystifying QTR for Photographers and PrintmakersDidesnis paveikslėlis
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Digital Negatives with QuadToneRIP is a text that fully explores how the QuadToneRIP printer driver can be used to make expert digital negatives. The book takes a comprehensive, Ņunder-the-hoodÓ look at how Roy Harringtons QTR printer driver can be adapted for use by artists in several different creative practice areas. The text is written from the Mac/Photoshop point of view.

The book is divided into three parts. Part One is a step-by-step how-to section that will appeal to both beginning and more advanced practitioners. Part One includes quickstart guides­ or summary sheets for beginning students who want to jump into using QTR before understanding all of its functional components. Part Two addresses dimroom, darkroom, and printmaking practices, walking the reader through brief workflows from negative to print for lithium palladium, gum bichromate, cyanotype, salted paper, kallitype, silver gelatin and polymer photogravure, with a sample profile for each. It also includes an introduction to a new software iteration of QTR: QuickCurve-DN (QCDN). Part Three is devoted to contemporary practitioners who explain how they use QTR in their creative practice.

The book includes:











A list of supplies and software needed





A summary QTR glossary with a simple explanation of how each function works





A sample walk-through to create a QTR profile from start to finish





How to linearize profiles with simple to more exacting tools





A visual guide to modifying functions





Quickstart guides for many of the workflows





Instructions for crafting monochrome, duotone, tricolor, and quadcolor negatives





Instructions for using QTR to print silver gelatin in the darkroom





Instructions for using QTR to print alternative processes in the dimroom





Instructions for using QTR to print polymer photogravure in the printmaking room





Introductory chapter to QuickCurve-DN software





Troubleshooting common QTR problems





Generic starter profiles for processes discussed





Contemporary artists: their work and QTR process.

Learning how to craft expert digital negatives can be a bit overwhelming at the outset. Digital Negatives with QuadToneRIP makes the process as user-friendly as possible. Like other books in the series, Digital Negatives with QuadToneRIP is thoroughly comprehensive, accessible to different levels of learner, and illustrative of the contemporary arts.
Preface xi
Biography xiii
Foreword xv
PART ONE QUADTONERIP
1(94)
Chapter 1 Getting Started
3(10)
Why QTR?
4(1)
How digital printers work
5(1)
Why two-part QTR profiles?
6(1)
Sample QTR workflow
6(1)
Installing QTR and Print-Tool
7(1)
Installing a profile
8(1)
Installing the Build QJR Curve tool
9(1)
Printing with the Print-Tool App
10(3)
Chapter 2 Supplies
13(6)
Safety first!
14(1)
The digital workroom
14(1)
Computer with Photoshop and Lightroom
14(1)
Epson ink jet printer
14(1)
QTR and Print-Tool software
14(1)
Build QJR Curve software
14(1)
Transparency material
14(1)
The dimroom
15(1)
Stouffer step wedge (analog film)
15(1)
Digital step tablets/wedges
15(1)
Ultraviolet light sources
15(1)
Contact and vacuum frames
16(1)
Miscellaneous supplies
16(1)
Supplies, consumables
17(1)
Papers good for all alt processes
17(2)
Chapter 3 Overview Of Qtr Vocabulary
19(6)
Chapter 4 A Sample Qtr Workflow
25(10)
Steps to Make a QTR Profile
26(1)
Determining basic exposure
26(1)
Using the Ink Pattern page
27(1)
Writing a "best guess" QTR profile
28(3)
Linearizing a profile
31(1)
Assessing actual prints
32(1)
Fine tuning with Gray Curve
32(3)
Chapter 5 Linearizing A Profile
35(12)
Using a cell phone for image capture
36(1)
Using a scanner for image capture
37(1)
Linearizing by hand
38(2)
Linearizing using Build QTR Curve
40(2)
Linearizing using a densitometer
42(1)
Linearizing using a spectrophotometer
43(2)
Fine tuning your linearization
45(1)
Which linearization method is best?
45(2)
Chapter 6 A Visual Guide To Profile Functions
47(14)
Sample overview of Curve View
48(1)
Toggling Curve View on/off
49(1)
Default (and other) ink limits
50(1)
Boost
50(1)
Gray parts and inks
51(1)
Gray values
52(1)
Gray highlight
53(1)
Gray shadow
53(1)
Gray gamma
54(1)
Gray overlap
55(1)
Gray curve
56(1)
Copy curve commands
56(1)
Curving individual inks
57(1)
Linearize
58(3)
Chapter 7 Quickstart Guides
61(26)
QTR Profile Terminology
62(1)
The Ink Pattern Page
63(1)
Calculating a UV Exposure Time
64(1)
Making a One Part Profile Step-by-Step
65(3)
Making a One-Part Profile for Silver Gelatin
68(4)
Making a Two Part Profile Step-by-Step
72(3)
Making a Two-Part Profile with Build QJR Curve
75(1)
Using Build QTR Curve to Linearize Profiles
76(2)
Linearizing a Profile by Hand
78(1)
Linearizing a Profile with a Densitometer
79(1)
Linearizing a Profile with Data-Tool
80(1)
Monochrome Negatives
81(1)
Monochrome Negatives for the B6cW Darkroom
82(1)
Duotone (Warm/Cool) Negatives
83(1)
Tricolor (RGB) Negatives
84(1)
Quadcolor (CMYK) Negatives
85(2)
Chapter 8 Troubleshooting Qtr
87(8)
Curve installation issues
88(2)
Print-Tool issues
90(1)
Prints do not look as expected
91(4)
PART TWO SAMPLE WORKFLOWS FROM NEGATIVE TO PRINT
95(86)
Chapter 9 Silver Gelatin
97(22)
Doug Ethridge
Quickstart to making a print
99(1)
Preparing an image for print
100(2)
Building a test file
102(1)
Preparing the computer
103(1)
Preparing the darkroom
104(1)
Deriving the QTR profile
104(1)
Setting the black point with exposure
104(1)
Setting the white point with ink load
105(1)
Adjustments for tonal separation
106(2)
Calculating the adjustment curve
108(2)
Fine tuning the correction curve
110(1)
Personalizing the curves
111(1)
Exposure and variable contrast
111(2)
One-part vs. two-part profiles
113(1)
Advanced Print-Tool tips
114(1)
Digital negatives for lith printing
115(2)
Quick review of papers
117(2)
Chapter 10 Lithium Palladium
119(6)
Lithium palladium formula
120(2)
Lithium palladium over ink jet
122(3)
Chapter 11 Gum Bichromate
125(8)
Stock gum Arabic
126(1)
Stock ammonium dichromate
126(1)
Stock color
126(1)
Making the gum print
126(2)
Gum QTR/Christina Z. Anderson
128(5)
Chapter 12 Cyanotype
133(6)
The classic cyanotype negative
134(1)
Cyanotype 10/10 formula
134(1)
Coating the paper
134(1)
Exposing and processing
134(1)
New cyanotype
135(1)
New cyanotype formula
135(1)
Coating the paper
136(1)
Exposing and processing
137(2)
Chapter 13 Salted Paper
139(6)
Supplies
140(1)
Papers to choose
141(1)
Processing solutions
141(1)
Silver nitrate solution
141(1)
1% gold chloride solution
141(1)
Paper salting solution
141(1)
5% salted water wash
141(1)
Gold sodium carbonate toner
141(1)
Alkaline fixer
142(1)
Hypoclear
142(1)
Salting the paper
142(1)
Sensitizing the paper
142(1)
Exposing, processing, and toning
142(3)
Chapter 14 Kallitype
145(6)
Don Nelson
Supplies
146(1)
Safety first!
146(1)
Papers to choose
147(1)
Developers
147(1)
Clears
148(1)
Toners
148(1)
Fixer
148(1)
Hypoclear
148(1)
Sensitizing the paper
148(1)
Exposing, processing, and toning
149(1)
Biography
149(2)
Chapter 15 Polymer Photogravure
151(18)
Clay Harmon
The two approaches
151(1)
Two-exposure method
152(1)
Direct-to-plate (DTP) method
152(1)
Tools, materials, software, digital files
152(1)
Print measurement device
153(1)
Plate calibration
154(1)
Install QuadToneRIP
154(1)
Direct-to-plate workflow
155(1)
Make a carrier for the printer
155(1)
Set up the printer
155(1)
Establish the matte black ink load
156(2)
Create a starter profile
158(2)
Refine the profile through iteration
160(2)
Two-exposure method
162(1)
Create a quadfile starter curve
162(1)
Determine screen exposure
162(1)
Evaluate the screen test
163(1)
Create a limited quad
164(1)
Measure the 21-steps on the test print
165(1)
Print A6-StepTest again
166(1)
Conclusions
167(2)
Chapter 16 Quickcurve-Dn
169(12)
Richard Boutwell
Technical notes and materials
170(1)
Transparency materials
170(1)
Printers and ink sets
170(1)
Papers
171(1)
Light sources
171(1)
QCDN instructions
171(1)
Standardizing your practice
171(1)
Getting started
172(1)
Determining your base exposure
172(1)
Finding the blocking density
172(1)
Using the blocking density quad file
172(1)
Printing the blocking density test
172(1)
Creating the starter curve
173(2)
Printing with the starter curve
175(1)
Measuring the print of the starter curve
175(1)
Linearization
176(1)
Loading the measurement data
176(1)
Smoothing the measurement data
176(1)
Manual curve control
177(1)
Saving the linearized quad curves
177(1)
Confirming linearization
178(1)
Creative practice
178(1)
Creative process
179(1)
Biography
179(2)
PART THREE CONTEMPORARY ARTISTS
181(108)
Chapter 17 Contemporary Artists
183(106)
Harlan H. Chapman
185(10)
Martha E. Davis
195(6)
David J. Eisenlord
201(6)
Douglas Ethridge
207(4)
Kate Jordanl
211(6)
Sandy King
217(4)
Michael Puff
221(4)
Judith Roan
225(4)
Michael P. Rosenberg
229(10)
Keith Schreiber
239(8)
Bill Schwab
247(4)
Mark Severson
251(6)
John Foxe Sheets
257(8)
Ryan Stander
265(4)
Sam Wang
269(2)
Jeanne Wells
271(4)
Tom Wise
275(8)
Rebecca Zeiss
283(6)
Appendix
289(2)
Units of measurement
289(1)
Sources for supplies
289(2)
Bibliography 291(2)
Index 293
Dr. Ron Reeder (19392019) was a research molecular biologist, retiring in 2002 from the Fred Hutchinson Cancer Research Center in Seattle at which time he devoted himself to a second career in photography. Reeders particular interest was landscape photography. In addition, he relished taking wildlife, portraiture, and still life. Reeder was the first to apply Roy Harringtons QuadToneRIP software to the making of digital negatives and went on to author books on the subject. This book is Reeders third on the technology of making digital negatives using QTR and is a testament to his role as mentor of the photographers included in its pages.

Christina Z. Andersons work focuses on the contemporary vanitas printed in a variety of 19th century photographic processes, primarily gum and casein bichromate, salted paper, cyanotype, and palladium. Andersons work has shown internationally in over 100 shows and 50 publications. This is her sixth book on alternative processes. Anderson is Series Editor for the Contemporary Practices in Alternative Process Photography series and Professor of Photography at Montana State University. To see more of her work, visit christinaZanderson.com.