PSW EST: 1972

* PhotoSnowdonia Workshops *

and the

Zone 8 Photographic Society EST: 1977

PRESIDENT: Bruce Alexander Carter, FZPS . . . . FIRST & PAST PRESIDENT: Kenneth A Nelson, Hon.FZPS

 

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Updated: Monday 22 May, 2006 21:38 (Webpage updated but not content)

PHOTO QUALITY B+W IMAGES FROM THE A3+ EPSON 1200 & 1160 INKJET PRINTERS

(NOTE: This has been extensively updated and available to members, with a wide range of other technical information leaflets, on the Members Only Forum. Articles will not be updated any more on this website, so will only be available to members). However, the basic principles remain fundamentally true for later printers, so this article is left for visitors as could be helpful as a basic guide

(This information also fundamentally applies to the 1270/80/90, 1160 and 2000P A3+ models and A4 models with photo-quality)

NOTE: For anyone wanting a B+W A3+ printer, get the Epson 1160. Whilst it only uses a 3-colour cartridge, the colour output is also exceptionally good - and the 3-colours are far more stable than the 5-colours (Posted 12th Feb 2001) but hurry as not many left (Posted 18th November 2001)

INCLUDING ADVICE ON SCANNING, MEDIA, INKS, PHOTOSHOP 5 CONTROLS AND EPSON 1200 * PRINTER SETTINGS

Permission is given to print this article out for immediate personal help when applying the controls described but neither the whole nor part of the article may be reproduced for publication without prior written permission.

INTRODUCTION:

There are a number of factors to consider to achieve the best results, meaning prints that are of photographic quality. Although this covers images originating from conventional cameras and film, the latter part can also apply to images originating from digital imaging camera equipment.

The first is resolution of the original image. The simplest way to achieve larger end prints up to the maximum on A3+ paper is to scan from a print. It is claimed that scanning from film is the best, whether negative or positive transparency, because light is transmitted through, giving a greater tonal range and separation. In practice, I have found the "from print" method to have many advantages, provided the print is made for scanning - rather like the methods adopted by Ansel Adams in producing prints to be the source for book illustrations. This involved making a print with a softer gradation than would be used for a print to be viewed, as contrast can best be adjusted "by the blockmaker" - or in our case, in the computer's software before printing. * Please see footnote for important additional helpful comments *

As an example, if 35mm colour or B+W film is used for negatives, then simple en-prints, of say 6"x4" or 7"x5" are made (whether self-made or via a local mini-lab) those prints would be of sufficient size to make a good scan for enlarging after scanning, without showing any distracting grain, provided, say, a maximum 200 ISO film speed was used. With a print of this size, provided the flatbed scanner had optical 600dpi resolution, a subsequent enlargement to A3 would produce an image superior in granular terms and sharpness than could have been obtained via conventional darkroom enlarging, where the emulsion grain would become apparent at such a print size.

Clearly, as we have found, using an original B+W negative of 5"x4" format, also on a flatbed scanner (with light source head to transmit light through the film) with 600dpi optical resolution, it is also possible to produce prints of A3 of excellent definition and no specifically visible grain. The scanner we use is the Mustek 1200P (Parallel Port connection) of optical 600x1200dpi together with its Transparency Head (just a matching cathode light box to allow scanning of negatives and transparencies - it does not cut out the internal reflective light cathode lamp but seems to work fine). Total cost in the UK is under £120 Sterling, so excellent value for money for those on a reasonably tight budget - like ourselves!). This head will work with any scanner using a cathode lamp. Remember, larger negs of 5"x4" for quality - or possibly 6x7/6x9 - as 6"x4" print is probably only acceptable from 35mm due optical resolution of 600dpi. See following comments re: Dedicated Film Scanners.

NOTE: We now (2005) use the Epson Photo Perfection range of flatbed scanners with film adapters

Recent tests, using 1200 dpi and 2400 dpi interpolation with 6x7/6x9 and 35mm respectively on this optical 600 dpi flatbed have produced remarkably good results. For 35mm B+W negatives, acceptable A4 printouts were produced, strangely without granular effects compared to scans via dedicated film scanners of higher optical dpi resolution! This tends to reinforce the feeling that it is some form of conflict with the higher dpi (eg: 2700 optical) of film scanners and the film grain that produces granular prints (this applies to monochrome, not colour). We will keep this research ongoing and will report back in due course.

For convenience and speed of use, many photographers are using 35mm and a film scanner, like the Nikon or Canon 2700dpi optical devices. Whilst these are very good, they generally cost about four times the price of a decent 600dpi flatbed with a lightbox transparency head attachment. It has to be remembered that whilst 2700dpi sounds a high optical resolution, by the time the 35mm image has been enlarged to say A4 size, the resolution has dropped to around 300dpi and if that is printed at A3, the resolution will have dropped to around 200 dpi, which - whatever the printer resolution may be set to (max. 1440dpi) - will result in a granular appearance in the printed image. In theory, over 200 dpi should be OK but in practice - from our experience and reasoning - there is some form of interference between the dpi of the scanner and the grain structure in the B+W film emulsion. The nearest comparison is the old lens performance system of "lines per millimetre", with which a film resolution of, say, 200 lpmm coupled to a lens resolution of, say, 150 lpmm would actually result in an end lpmm resolution of considerably less than either - the formula is of academic interest but the comparison of what I believe is the same sort of effect of the interference between the scanning dpi and grain structures. The nearest comparison I can suggest would be the moire pattern that usually occurs when scanning a screened image - like an illustration in a book. As colour negs and transparencies cannot be truly sharp, due colour dyes, colour scanning seems quite acceptable.

Although a similar dpi would result if scanning a 5"x4" negative on a 600 dpi flatbed scanner with light attachment, it would appear there is not the problem if the film grain structure causing interference that occurs with the greater magnification of the emulsion structure as occurs using 35mm - even though the dpi at A3 SHOULD be OK, it clearly isn't. However, all is not totally lost!

Interpolation to higher dpi can be used, provided the file sizes can be handled by the computer specification but we have found that in reality, the actual optical resolution of the scanner is really the true determining influence on the final result. As an example, scanning at a flatbed maximum optical dpi of say 600 might produce a file size of 25Mb; change that to an interpolated 1200dpi and the file size shoots to 100Mb - twice the dpi = four times the file size. The actual end print may look no different, especially if when using Photoshop the printing dpi is specifically set to relate to the chosen print dpi resolution.

So, bear in mind that if printing using an Epson 1200 with 1440dpi print resolution, even for the black only ink, you could see a granular structure that is actually not the fault of the printer but that the image dpi resolution (OR the interference effects mentioned above) is enlarged and thus begins to show in the print. You need to take all matters into consideration when troubleshooting problems. To maximize the quality of the print itself, whatever went before, there are certain controls available in Photoshop and more specifically, in the Epson printer software properties dialogue. In Photoshop, if using version 5 or 5.0.2, the best procedure is as follows. Please ensure you read the section on recommendations to procedures to adopt before actually printing to avoid memory and other problems.

SCANNING & PHOTOSHOP BASICS: (Acquiring the Image)

Open or Acquire, Twain 32, the file image as normal procedure. If scanning a negative, use the Image, Invert to get a positive. Use Image, Auto Levels as the first, basic adjustment. Then use the Image, Levels to get the histogram and adjust the central pointer under the histogram, usually requires moving to the right and watch the on-screen changes, until what is required has been achieved. Then click