I made a ICM profile with Profile Prism 7 and Vuescan on Canon Matte Photo paper on the Epson 3880 with non-OEM dye ink.

I also made one using the "ColorMunki Photo" as well as one using the "i1 Photo Pro 2" on the same paper and printer above.

Looking at the 3D Lab gamut, they are quite different.  The small one within the wire-frame gamut shown is Profile Prism and the larger wire-frame one is the gamut off the x-rite "i1 Photo Pro 2."

Don't know why the big difference.    Could be HP GP3110 scanner maybe?  Vuescan?  Not enough targeting info off the IT8?  Dunno.


A not-so fun test:

1. Make a new 8.5x11 photo page in your photo editor of choice.  "Bucket fill" the entire page with an RGB of 128 for each Red, Green, and Blue.  Save image.
2. Open QU to print using generated ICM profile.  Pull the edges in an inch or more, and set the "Border" color to the gray (or silver, showing 128 in all RGB windows) in Qimage.
3. Print it.

If you see a difference (color or luminance) between the Qimage "Border Color" 128 value, and your "Bucket fill of 128" image in the middle, you got a profile problem to deal with.


Mack

Thanks Fred.

I was hoping the color/s would remain in the holding box on exiting.  That's why I tried to use the HELP box and found it didn't work.

My printer seems to like RGB 128, 126, 117 as a neutral gray as seen by the i1 spectrometer which reads it as 128, 128, 128.  Some ink color batch discrepanices maybe.  I had hopes that it would stick in the holding box so I could recall it.

Not too clear on what you mean by "Save as a Job?"  I just need to keep the RGB I use most often in the holding box and not erased at some point on program exiting should I chose to go to white or something else.


Mack

In right pane of QU > Page background color > Pop-up window "Colors"  I can set some RGB values for a "Custom Color" (e.g. RGB = 128, 126, 118).  Press "Add to Custom Colors" and it is shown as a new color on the left.  So far so good...

However, if I exit QU and go back in, the "Custom Colors" are all back to black and nothing was saved there?      It does save the last right RGB values prior to exiting, but I have to press "Add to Custom Colors" again.  Plus, I need to write down any other Custom RGB Colors that I had "Saved" in there as it erased them all and I need to re-apply them again on restarting the software.  Seems it forgets any other Custom Colors on exiting.   

Also, "HELP" button doesn't respond in the "Color" pop-up pane either.


Mack

Have some prints mounted.  Even some that were commercially framed under glass too.  Heat around here gets in the 110 degree range.  Prints de-bond and fall off the boards far too much here.  Canvas especially.

Anyone know of a good spray glue that sticks well to canvas and cloth prints?  Krylon Spray Adhesive sure doesn't.  Sprayed both surfaces.  Dried until tacky. Rolled it on.  Put boxes on it to weight-press overnight.  And it let go in only one day off canvas-to-foamcore board.  Not cool, even though they say "cloth" on the can.


Edit:

Krylon responded:  "Their adhesive is not meant to bond things that bend, e.g. canvas."  No kidding!

Trying to trowel on some contact adhesive now onto the foam core board and roll the canvas onto it.  DAP Weldwood 32 fl. oz. Nonflammable Contact Cement.  Water cleanup (Yay!).  Rubber based.  Sales guy said, "A lot of artists use it."   It's off white in color.


Mack

Fwiw, Epson 3880 settings screenshot I am using.


Mack

Fred-

If you look in the "User Defined" area in the Epson 3880 driver pane, it says something about 17 x 37.5 inches as the maximum size.  I made a few special entries in there for 17 x 22 and 17 x 25.5 inch papers (I prefer the 17 x 25.5 as it is the 2:3 ratio (35mm) off the FX sensor size) and some 16.25 x 36.5 panorama thing I also entered.  You have to set it slightly less than 17 inches as it won't do borderless at that size (That I have yet found.).  I think a lot trim down to 16" widths and use the less stubborn front feed slot, but the back slot takes the 17 inchers.  If it accepts your size values and back out of it, the main Epson window won't flip out and report a size of 4x6 inches too.  It'll say User Defined or show the User Defined and "Saved" size like 17 x 25.5 or similar.

I can feed 17 inch rolls I cut down into 38" lengths into the rear feed slot.  I just set some flat board across the back tray into the rear feed slot and lay the paper on it and let it pull in.  Problem is always getting ti to feed 1/4" ahead of that long black presser bar without getting the "SKEW" error message.  As mentioned, once I see "Ready" (Paper about 1/4" ahead of that black presser bar (with all the little springs) it's set to go.  Actually, if I hang a 2" x 36" PVC pipe resting on a couple of 24" long Harbor Freight QuickClamps (Clamped to the table ends the printers are on) up over the printer I can let slip a roll paper of paper over the PVC pipe and let it feed down into the printers too.  Ergo, a poor man's roll paper feed system. 

Also, Epson just got back to me on the 14 inch printing width cropping issue.  Although I had set it to 16.25 inches, evidently I need to set the paper up into "Portrait" mode over "Landscape" else it will auto-crop images.  Now it is working again properly with that setting.  QU shows the tall portrait thing (sideways), and opens it in Landscape in the Editor part.  It doesn't show the size correctly for the image if the Epson driver crops down 2 inches in Landscape, but no matter as it works now.

I had the Paper set to Matte Canvas, (Matte ink - although I am using dye ink and not Epson K3 pigment.), "User Defined" for panorama size, and Portrait.

See image below:  Measures 16.3 x 36.5 inches.

Does a nice job too. 

Actually, the Canon 9000 II series also does long panoramas, much longer than what they show in their literature too.  I think I can go out to around 28 or 32 inches with them, although its restricted to 13" width.  Canon tech support didn't even know about it.  Go figger!  Don't believe all they tell you on maximum sizes, or marketing size claims.


Mack

I successfully set up a panorama in QU and the Epson 3880 menu for 16.25 x 36.75 inches (QU shows 16.266 x 36.766 fwiw).  Image looks correct in QU and it shows the dimensions correct as well.

However, once coming out of the printer, it is cropped off by 2 inches at the top, but the length is correct and not cropped?  Measures 14 x 36.75 inches.

Don't know why the page shows the correct dimensions, and it looks right on the screen, but the printer's output doesn't match. 

This is with the "stubborn" rear feed slot (That often reports "SKEW" errors.) with canvas and matte ink if it matters.


Aside, I found to keep from having feed issues with the rear slot and canvas, if I open the top black door and see the paper auto-feed to about 1/4" ahead of the black spring loaded presser are that extends the width of the paper, and make sure the 1/4" is the same on both sides as the printer head scans the paper edge for evenness, I can tug the canvas paper back on a side to even it before the head fully parks and reports back "SKEW Error.  Reload."  if I see "Ready" after my forcible paper tug to make the paper straight and parallel to the print head travel and paper presser arm, I'm good to go.

Whomever came up with that idea of "taping a paper leader to the front of the canvas" and using it to feed into the machine should be thrashed.  If that leader comes off, and you got tape wrapped up inside the printer, you got a major dismantling mess on your hands to get it all out of the feed and roller system.  DAMHIK either! 


Mack

So the "Mouse Cursor" is what I need to use, and not the Eyedropper Tool to see any change?

Okay.  I just tried the "Mouse Cursor" alone and it shows a change in the Green and Blue values when I kicked the Red (R)up from 1.15 to 3.15 (RGB went from 255 196 182 to 255 147 160 - subtracting cyan, or adding red to the image in QU.).

And the Eyedropper Tool remains at 219 195 173 no matter what I do, short of going into Photoshop.  It only works for Unfiltered or Unaltered images and nothing to do with any edits made in QU.

Too bad there isn't a way to keep those QU co-ordinates locked so I can play in the Editor array and see what I am adding or subtracting.  Moving the cursor off the image looses the values to set them in the Editor's Col. Sel. array.  I have the old "Kodak Print Viewing Filter" set and when it looks better under Red, it isn't so easy to figure out "how much" since Kodak used CC numbers, inkjets use RGB (0-255), and QU has a whole different set (-100000 to +100000 or more?) I think.

Would be nice just to dial in some numbers in the array and see the "targeted co-ordinate point" hit a Pantone color like 243 207 179 (e.g. light Caucasian skin).  You can get there in PS by their Color Picker Tool (?) that remains locked on the co-ordinate spot and numbers change there when you force-change a color.  However, once sent out to the printer that can change so I prefer to tune it in QU rather than keep tweaking it in PS since I use a variety of printers and all are different profiles.


Mack

It always reads the Unfiltered version no matter how much of a change is made in the Editor - or if it is Saved?  (e.g. Exit Editor > Main Window > back into Editor and same Eyedropper values show there as if no change was made?)

Co-ordinates show as 2411 2384 in both screenshots I've attached.  On "Eyedropper 02.jpg" the Red was boosted to 3.15 from 1.15 and the RGB stays at 219 195 173 in both images?  Even upon Editing? 

This is seriously messed up if I have to always go back into Photoshop to alter the image, rather than use the Qimage Ultimate Editor, to see any change in the numbers.  One would think the QU Editor would show a change with the Eyedropper Tool as well.

    


Mack

Have a portrait.  The "Eyedropper Tool" show the "Color to alter in underlined R (Color Select pane).

The "Eyedropper Tool" position is shown to be at 2411 2384 (X & Y) and Color at that position is shown as 219 195 173.  So far so good.

I enter a value of 3 in the R Red column instead of Default 1.  Pop-up shows a definite Red color change.  So far so good again. OK makes the large image on the left Red as it should be.

However, if I position the "Eyedropper Tool" in the now very red image at the above (same) coordinates of 2411 2384 the color numbers remain shown as the old values of 219 195 173?   

No change of the red value at all in the Eyedropper Tool even though the edited print is now very red?

Something is screwy somewhere with the Eyedropper if the values do not change even though the print has become redder.

(Fwiw, I'm trying to make the print shift to an exact Pantone skin value of 236 195 178 but the Eyedropper Tool isn't cooperating and seems stuck even though I can change the image color in the Editor Color Sel. array and the printer prints the color change as well.)


Mack

After reading reviews of "Renaissance Wax" on prints, I don't think they meant untreated inkjet prints.

The stuff soaks into the inkjet coating pretty well and can darken whites permanently.  It can be almost impossible to remove if you do an area larger than 2x2 inches as it dries that quick and hardens.  I tried several paper surfaces and just no luck.

What did make a difference was to coat them with McDonald's SureGuard Pro-Tecta-Cote lacquer and then follow it with the above wax.  The wax then was much easier to apply and easier to remove and buff out with a terrycloth towel.  It didn't have the issue of soaking into the print surface and discoloring it either.  I just used a cotton ball to apply the wax, then buffed it within 30 seconds with the terrycloth.  Works pretty well.

Fwiw, if you do not know how to work a spray can this guy is a riot!  Some of it is relevant even for inkjet prints.

Part 1: http://www.youtube.com/watch?v=cR4ivpqTYhU
Part 2: http://www.youtube.com/watch?v=h_EuUcwhYeE

Never heard about "Chase the dry out."  However, my stuff today turned out pretty good following his advice.  The wax and buffing later helped the spray job too.


Mack

I'll request a "Sticky Eyedropper Tool" that keeps the RGB values shown - and locked (unless edited) - until it's turned off.  PS allows one to see the prior and post change RGB (or CMYK) numbers with their sticky eyedropper tool.

As it is, moving the mouse off the selected eyedropper point shows the RGB numbers of the "Edge of the photo you exited the mouse from" and "Not the one you pointed it at."  Not too helpful, especially if you must move it to set the RGB values in the Color Sel. Array or box of numbers and then need to go back to the exact same eyedropper spot too to re-read them.

Maybe make it selectable so it can read within the larger enlargement pane that pops up when changing some Editor values too.

Big PITA to write the RGB numbers down, then change some numbers in the Editor Color Sel. array, and go back and maybe hit the exact same eyedropper spot to see if they changed the right way, or just to dial in some Pantone RGB numbers and see if they jive to where the eyedropper tool was initially set at.


Mack

If I have a print in the Editor > Sel. Color and am using the "Eyedropper Tool" to see the RGB values in the lower pane, is there some trick to keeping that eyedropper position and values locked so when I move the cursor over to the edit pane to change the color numbers the eyedropper values shown will be off that selected spot?

Something like what PS does with their "Color Sampler Tool" (It leaves a numbered marker on the print and I can watch that value change when altering the colors.) verses their "Eyedropper Tool" which seems more like the QU one.  Maybe a right-button click locks the eyedropper to a spot, shows a marker and number for that spot so one can adjust away and see that values on that spot change?

As it is, I have to write the Eyedropper's RGB numbers down, move the mouse and change them in the Sel. Color window, then go back and re-read the "exact same spot" (Hopefully, and good luck with that!) to see if I went the right way and how much.  Better if it were "locked" to that initial spot than moving it off and back onto it and coming up with new and different numbers than the first.

Tia.


Mack

Your welcome.

I'll add that in the screenshot, I added the "RGB 128 gray" border from within QU around the print on the right side.  It would be white by default.

I find that using the "RGB 128 gray" border allows me to keep a check on the printer's ICM profiles.  If that gray varies, then I know the print has varied as well.  Seems my small-cartridge Canon 9000 II will shift color ever so slightly on some ink changes (I'll see a burple/magenta to yellow shift easily in it.).  The larger Epson 3880 with bigger ink tanks doesn't do that and is much more consistent in color (Although I hate the flat pigment ink look personally, even if pigment is better for archival over dye.).  I might switch that printer over to dye ink next month too.

Could be the difference in print head design (Canon uses heat to squirt, and Epson uses some forced-pressure head.) or maybe the Canon and their small ink cart's sponge holds the dye in pools?  I dunno, but it sure is annoying at times so I use the gray as a "Printer Quality Control" checkup thing.  Qimage Ultimate has some "tweaker tools" that I use more often than printing straight out of PS, Lightroom, or whatever.


Mack

Fred has small portions above.  Here's the full tamale screenshot.

There's about 15 different skins now and this is the darkest (and it's the Default one too.).  It's about like Photoshop CS6, Lightroom 5, or DxO Optics Pro 8 skins.  PaintShop Pro Ultimate X5 is very dark over all of the above and QU too.  This seems a good balance over the other 14 I looked at (All are much lighter on the background.).

Mack